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re beaten paintings of the 
rae 0." ‘Matthiéssen collection. Their 
owner was a .s0g@r refiner, a min of 
Lewes: a sage, He ornaiented> his life 
with «a peagetul~ re, 
ft He saia: “What may one Wo less harm. 
ful than to hang pictures, on walls? The 
‘task recalls, it-is true “that” of children 
‘piliig sand on the seashore—they work in 
yain, and all that they aa; will be soon 
undone. 
, “Thus it is with art Soltek srs: But the 
fault is in the vicissitudes of existence and 
the brevity of life. The sea takes the piles 
of sand, the auctioneer disperses the col- 
lections. And yet there is nothing better 
‘to do than pile sand at ten, and form art 
‘galleries at foity, years of age.” 

Nothing is to remain of what we achieve, 
‘but works of ait, have the best chance to 
hast long: that’ one’ knows. Titian’s portrait 
lee Antonio — Grimaui, Doge — of Venice, is 


Vener: “centuries old. Et. ey ‘the prize of the — 
‘Matthiessen collection. What has become 
ot: ‘the Doge's wealth, of his ships and 
“palaces? | ; 

‘What has become of his fame? 
“not. because of him that his portrait is’ 
-yaluable to art-lovers.” In ‘their regard for 
it he counts not at all. The portrait has 
“surpassed extremely its forigin. Born of a 
-mInan’s caprice to be painted, it represents 
the glory .of an epoch. A pike lives 
panied. 
| The ducal apdre that stands there ‘deckea 
‘with cap of cloth of gold and jewels,” 
‘brown coat and ermine mantle, is dispos- 
‘sessed from the domain that was his. But 
‘Titian’s work is the. medal of-a taste, of 
-a state of mind, of an art, 

This art) hay produced here an effigy 
wherein are ‘expressed in a single seat A 
all dts relative faces. ‘Phere are the in- 
“dustrious activity, ‘the obstinacy, the habit 
of authority, the violence and the suffer- 
‘ing; the intolerance and the epic grandeur 
‘of Venice in the sixteenth century, vee 
Dolized. 

On that portrait’s face the AR an of 
trade. and the risks of wars,. the splendor 


poms Byzantine: “mosaic ioe ‘the dark of 
prisons haye made the mind that it reflects. 
flagrant as muscles tense. 

| Beside this work of ‘Titian is the “Holy 
Family,” by Rubens, heedless- of asceti- 
‘cismy, ignorant of archaeology, indifferent 
to the sclenee of verifying dates of events 

f history and legend, and for these rea- 
‘sons admirable, The Virgin is a woman of 

he Renaissance in red gown and bluish 
iskirt of the most recent pattern. 
| St. Francis of Assisi, wearing the monk’s 
ipbrown gown of his order, is bent in adora- 
‘tion. Saint Elizabeth with the coif and 
‘veil of a nun stands behind the Mother 
‘and Child, The infant St. John is at their 
‘feet. St. Joseph’s head in profile appears | 
jin & shadow at the right. 

Bulidings of a landscape are in the back- 
ground, Tissot may not divert one, with 
precise studies of costumes. and faces of: 
Jerusalem, from.the ample beauty of the 
Flemish figures that Rubens painted witn 
love of life and the “wish to show that it ts 
beautiful. 

His portrait of ‘‘A Gentleman,’ with 
|eheeks in the glow of good living that a 
\white ruff exaggerates by contrast, reas- 
‘serts the Flemish ideal that was Rubens's 
‘of beauty in- vigorous health without ath- 
‘letic effort or mental exercise. 

The works are valuable for their art of 
‘painting simply. <Phis:is everythivg. An 
‘art student to-day may learn nothing spe- 
|ejal from’ them. He asks his questions of 
| Velasquez or of Franz Hals. And Dela- 


nr Ave ‘Ganer.: erolx 


Tt is. 


nse ian Gc greater If he had 
not followed too long Rubens’s example. ‘ 
But the example is magnificent at its best. 
at Munich, at Vienna, in the Louvre. 

Rembrandt’s portrait of an “Old Man’? ts 
"strong, coarse, with tawny forehead in 
deep wrinkles and cheeks reddened. The 
right arm is gray on a brown background, 
the left arm brown on a gray background. 
The eyes are brown and the composition 
makes them captivating, The drt student 
of to-day does not ask Jessons of. Rem- 
brandt, either. But the master’s by iee) is 
ever Imperiors. _ ‘ 

This is not the faculty of Murillo’ s. His 
“Mary. Magdalen at Prayer’’ is too well- 
polished. The painting was a gift of Fer- 
dinand VII. of Spain to the Queen Dowager, 
Christina. A work of Cuyp,, “Landscape, 
with Cow and Ruins’’; a work of Guardi, 
“View of the Square of St. Mark's, Ven- 
ice’; a portrait by Lawrence, are other 
treasures of the collection. 


“This. portrait ‘of. ‘the "Rev. "Burroughs 
Thomas Northgate has delicacy, captivat- 
ing grace and noble expression. There are 
paintings by Turner, the ‘Port of Ra- 
venna”’ and ‘Landscape with Cows.’ The 
latter, a water color of 1806, has a sky of 
pale. orange vacillating in the light. It 
-seems to promise to explode in all the 
colors. 

A pencil drawing of children by Bougue- 
reau, a pastel. by Decamps, the ‘Head of 
a Girl,’ in an accord of vermilion and 
olive by Henner; a satire by Casanova, the 
study dedicated to Alfred Arago of.a nude 
figure by Cabanel, ‘A Fair Maiden,” by 
Gabriel Max, the small portrait of an 
Italian girl im costume, by Bonnat; a 
“Halt? of soldiers, . by Alphonse i Neu- 
ville, attract interest. 

Hdouaid Detaille’s ‘‘Officer Ordering an 
Advance,” Douglas Volk’s ‘Model,’? Vi. 
bert’s ‘“‘Absent Minded’ ecclesiastic, in 
red. and his ‘‘After ‘the Masquerade,” a 
Galltcism -undefinable: here; Anton Manve’s 
“Holland Landscape’’ in. the tenderness of 
a blue slate sky; Gerome’s ‘‘A Morocco 
Beauty,” sculptural in lines and. colors; 
Josepli Ball's “Drawing “Water,” Corot*a 


“Castle and Forest, Lombardy,” divert or 
charm, one, 

The collector was active) and his taste 
was varied. Rosa Bonheur’s ‘‘Normandy 
Herse,’’ Jules Dupre’s ‘‘Sunset,” a red 
flame and dark clouds edged with pink, a 
brown plain; Franz Lenbach’s portrait otf 
Leo XIII, in profile with dark eyes and 
protruding under ‘lip;. Diaz’s beautiful 
“Awakening of Love,’’ Muller’s “‘Scene at 
the Conciergerie,”’ delighted him and must 
charm others. 

The poem that Andre Chenier is said to 
be writing in Muller’s picture was, by the 
way, an invention of his editor, Henri 
Delatouche. Hans Makart’s ‘“‘A Midsum- 
mer Night’s Dream,’’ a large picture in 
a great variety of forms and colors, and 
Meissonier’s “‘Papa Pierre,’’ a miniature; 
the latter’s “Philosopher,’’ a chalk draw- 
ing of “The Wasberwoman,’’ by Millet; a 
“Sunset After Rain,’ a jewel by Boueuean 
an “Avenue cf Trees,’’ by Corot, simple 
and characteristic, tempt one to disserta- 
tion and to praise. 

Breton’s “‘Harvesting the Popples’” is full 
of light and color; Troyon’s ‘‘Landscape 
and Cattle,’’ of air, distance and activity, 
The “Old Woman Chopping Onions by Can: 
dlelight,’’ of Gerard Dou, is a treasure of 
ancient Dutch art. 

The F, O. Matthiessen 
large garden of precious 
Their sale by auction is 
delssohn Hall on Tuesday 
evenings. 


collection is a 
flowers of art. 
to be at Men, 
and Wednesday 


ON VIEW DAY AND EVENING 
EAT THE AMERICAN ART GALLERIES 


‘ FROM THURSDAY, MARCH 27TH, UNTIL THE MORNING OF 
THE Day oF SALE, INCLUSIVE 


[Gow 


TuIs EDITION IS LIMITED TO 350 COPIES 


~ CATALOGUE 


OF 


VALUABLE PAINTINGS 


COLLECTED BY THE LATE 


Bee MAT IT HIESSEN 


OF THIS CITY 


TO BE SOLD AT ABSOLUTE PUBLIC SALE 


BY ORDER OF E. A. MATTHIESSEN, ESQ., 
AND E. F. C. YOUNG, ESQ., EXECUTORS 


ON THE EVENINGS OF APRIL IST AND 2ND 


Becinninc Eacu Evenine AT 8:: 30 o’CLO 


AT Sete HALL 


FortIETH STREET, EAS DWAY 


THE SALE WILL BE CONDUCTED BY THOMAS E. KIRBY, OF THE 


AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK 


1902 
ae 


CopyRIGHT, 1902, BY 


THE AMERICAN ART ASSOCIATION 


, NEW YORK, 


4 


[Adl Rights Reserved.) 


ILLUSTRATIONS 


ARTIST SUBJECT 


J. J. HENNER 
Head of a Girl 


VICTOR DUPRE 
Landscape and Cottages 


MCAS ANOVA Y ESTORACH 


An Uncanonical Courtship 


GABRIEL MAX 
A Fair Maiden 


ALPHONSE! DE NEUVILLE 


The Halt 


EDOUARD DETAILLE 


Officer Ordering an Advance 


eG. VIBERT 
Absent Minded 


CATALOGUE 
NUMBER 


16 


18 


20 


24 


30 


34 


40 


ARTIST SUBJECT 
ANTON MAUVE 
A Holland Landscape 


J. L. GEROME 
A Morocco Beauty 


RAIMUNDO DE MADRAZO 


A Love Song 


LUDWIG KNAUS 
A Gypsy Mother 


J. B. C. COROT 
Castle and Forest, Lombardy 


ROSA BONHEUR 
A Normandy Horse 


we 


CONSTANT TROYON 


Cow and Dog 


TITO°LESS! 


Interior of a Public Library at Florence 


NAV) AZ 
The Awakening of Love 


CATALOGUE 
NUMBER 


42 


46 


48 


52 


54 


58 


62 


64 


Can viene abies 
Se — 


a TT POON GN OE Sa EE ita li 


CATALOGUE 
NUMBER 


ia ; Ae af % a? See 7 ’ 
i a Arabs ieee a Stream teat 68 


. 


os 


h - Conciergerie Prison during the Roll-call of the Last 


S 


im of the et of poe oth AED 1793 78 


: pi Last Repair, My Poor Friend I 80 


Papa Pierre | 86 
The Philosopher 100 

BERNE-BELLECOUR : a 
The Trooper’s Story 102 

DAUBIGNY 
Summer oo 104 
i eae ; 

Fontainebleau Forest 106 


ARTIST ; SUBJECT 


THEODORE ROUSSEAU 


Sunset after Rain 


J BsC COROG 
Avenue of Trees 


JULES DUPRE 
Village near the Sea 


THEODORE ROUSSEAU: 


Le Puy 


InGSIGRISTE 


Napoleon and his Generals Consulting 


JULES BRETON 


Harvesting the Poppies 


CONSTANT TROYON 


Landscape and Cattle 


GERARD DOU 


Old Woman Chopping Onions by Candlelight 


CATALOGUE 
NUMBER 


108 


IIo 


Il2 


114 


116 


122 - 


124 


130 


_ CATALOGUE ae 
NUMBER c 


Portrait of the Rev. Boroachs Paonas Noneeeel M.A., 
* Die at the rat of twenty-three 132 
om: Portrait 24) an Old Man 134 
CESCO_ peu R DD 
: ae ‘View of the Square of St. Mark’s, Venice 137 
ie : 
mane * te, 
Portrait of Antonio Grimani, Doge of Venice 138 
Ee (Frontispiece) 
E. MURILLO 
Mary Magdalen at Prayer 139 
"AELBERT CAly LP. P 
Landscape with Cows and Ruins 140 


PETER PAUL RUBENS 


The Holy Family 141 


Se 


Pr 


PHICAL NOTES 


AND 


APPRECIATIONS 


a a 


ANDREAS ACHENBACH 


Andreas Achenbach was one of the first of the German painters 
to emancipate himself from the landscape of style and to paint nature 
realistically. 

He was born at Cassel in 1815, and became a pupil of the Diissel- 
dorf Academy under Schirmer. But the teacher whose influence, 
though indirectly, affected him most, was the Danish painter Gurlitt, 
who had settled in Diisseldorf. Henceforth Achenbach was a realist. 
His early pictures of the Rhineland villages were fresh and individual. 
Later he visited Holland and produced a series of works in which the 
quiet Dutch canal scenes and the boisterous force of the North Sea 
were admirably rendered. After his return to Dusseldorf he settled 
down to the painting of German and Norwegian landscapes, treating 
forest, mountain, and river with ability, but without much feeling. 
He may be called a maker of excellent pictures rather than an inspired 
painter. He is a member of the Berlin, Amsterdam, and Antwerp 
Academies, and was awarded the Legion of Honor in 1864. 


MAGNUS THULSTRUP VON BAGGE 


Born at Christiansund, in Norway, Von Bagge studied in Copen- 
hagen under Thorwaldsen, and later in Dusseldorf under Andreas 
Achenbach and Gude. He travelled extensively in Switzerland, Nor- 
way, Sweden, and Bavaria, and his landscapes are vivid records of 


the wilder parts of these countries. 


JOSEPH BAIL 


This clever painter of still-life and genre was a pupil of his father, 
Jean Antoine Bail. He gained a medal of the third class in 1886, of 
the second in 1887, and a silver medal at the Universal Exposition 
of 1889. 


ALBERT BAUR 


Albert Baur, one of the professors at the Academy of Dusseldorf, 
is a genre and historical painter of considerable ability. 


WILLIAM H. BEARD 


1825-1900 


A brother of James H. Beard, who also was a National Academi- 
cian, William H. Beard was born at Painesville, Ohio, and in child- 
hood taught himself to draw under the encouragement of his mother. 
Later he received some help from his elder brother, who had settled 
in New York, and then established himself as a painter in Buffalo. 
In 1857 he visited Europe, painting at Dusseldorf, and sketching in 
Switzerland, Italy, and France; returning in 1860 to make his home 
in New York. He had been a National Academician since 1862. 


JOSE BENLLIURE Y GIL 


José Benlliure is one of the leaders of the Spanish colony in Rome, 
where he holds a pension from the Spanish Government for the execu- 
tion of important decorations for public buildings. He was born at 
Valencia in 1855, and in time became a pupil of Domingo, his talent 
winning early recognition in the Madrid Salon. After settling in 
Rome he exhibited in Italy and Germany, and at the Munich Exhibi- 
tion of 1883 made a special sensation by his great ghost picture, “A 
Vision in the Colosseum,” in which the spirits of innumerable martyrs 
rise from the blood-stained ground to celebrate a midnight service. 
He is a spirited draughtsman and a fine colorist, following in 
his smaller pictures the phase of Spanish art represented by Fortuny. 


ETIENNE PROSPER BERNE-BELLECOUR 


In 1859, at the age of twenty-one, Berne-Bellecour entered the 
studio of Picot, earning a living at the same time as a photographer. 
His first studies of painting were of landscape, from which he pro- 
ceeded to costume subjects and rustic genre. But he was still work- 
ing also at photography until, in 1868, Vibert, who had become 
his brother-in-law, induced him to abandon it. The following year 
he received a medal at the Salon, and then set out with Vibert, Leloir, 
and Detaille on a visit to Africa. The war of 1870, however, brought 
them home again, and found them serving together in the defence 
of Paris. Berne-Bellecour was awarded a military medal, and after 
the establishment of peace set himself to painting military subjects, by 
which his reputation has been made. In 1872 his “ Coup de Canon” 
received a medal of the first class, and his popularity was insured. 

He has also practised sculpture, engraving, and etching, and in col- 
laboration with Vibert produced a successful play. 


ROSA BONHEUR 
1822-1899 


The daughter of a struggling painter at Bordeaux, Rosa Bonheur 
was born in that city in 1822, two years the junior of her brother 
Auguste. After the death of the mother, whose musical accomplish- 
ments had largely supported the family, the Bonheurs moved to Paris. 
Both the children drew from an early age, and when they were, respec- 
tively, twenty and eighteen, the father’s second marriage with a thrifty 
widow made it possible for them to obtain regular instruction. ; 

Rosa had spent much time in copying in the Louvre, and later 
made studies and sketches in the neighborhood of Paris. She first 
exhibited in the Salon in 1841, and in 1845 gained a medal of the third 
class, which was followed two years later by another of the first class. 
She had begun to frequent the stables and abattoirs for purposes of 
study, and found it convenient to adopt male attire, continuing the 
habit through life. In 1853 appeared her masterpiece, the “ Horse 
Fair,” now in the Metropolitan Museum, and her fame was thoroughly 
established. In 1865 the decree of the Empress was published nam- 
ing her Chevalier of the Legion of Honor, and when the Prussians 
invaded France special orders were issued that her studio and residence 
at By, near the Forest of Fontainebleau, should be respected. ‘Here, 
surrounded by the animals that she loved, she spent her life in con- 
stant work and acts of kindliness to her neighbors. 

She earned a twofold reputation: her popularity with the public, 
and the more moderate and reasonable esteem of cultivated persons. 


LEON JOSEPH FLORENTIN BONNAT 


Born at Bayonne, in the south of France, and educated at Madrid 
under Federico de Madrazo, Bonnat brought with him to Paris a pre- 


dilection for naturalism and a special enthusiasm for the work of 
Ribera. He continued his studies at the Ecole des Beaux Arts, 
and in 1857 exhibited three portraits, winning also the second Prix 
de Rome. During his stay in Italy, from 1858 to 1860, instead of 
devoting his time to large academical compositions, he painted scenes 
from the varied life of the people, pictures that are among the most 
charming of his works. After his return home he executed many relig- 
ious subjects, both for the government and for the churches. But his 
long series of portraits forms the most individual part of his life’s 
work. A French Lenbach, as Muther calls him, he painted in France 
a gallery of celebrated men. With an almost tangible reality he has 
indicated in the simplest way the characteristics of the thinker, the 
musician, the scholar, and the statesman. For the delicate physiog- 
nomy of woman he has shown no concern, but his masculine por- 
traits, especially those furrowed by age and character, are of most 
convincing power. 


WILLIAM ADOLPHE BOUGUEREAU 


Bouguereau’s life is an example of adherence to a fixed idea. He 
was born at La Rochelle in 1825. Truly that was none of his own 
contriving; but while still a child he set himself to draw, and later, 
during his apprenticeship to a shopkeeper in Bordeaux, prevailed 
upon his employer to allow him to spend two hours each day at the 
Alaux Art School. He won the prize of the year, and in the face of 
his parents’ objections to his following the career of art threw up his 
employment and went to live with an uncle, who was a priest at Sain- 
tonge. Here he painted little portraits of the townsfolk, until, having 
saved goo francs, he was able to proceed to Paris and enter the Ecole 
des Beaux Arts under the supervision of Picot. He was then eighteen 
years of age, and four years later won the Prix de Rome. As soon 


as he came back from Italy he stepped into recognition; many private 
and public commissions awaited him, and the Legion of Honor was 
awarded actually within the year of his return from studentship. - 

This was characteristic of his subsequent success, which, like that 
of Gérdéme, his equal in age, was rapid and complete. He has been 
the recipient of every honor that France can bestow on a painter and 
of many decorations also from foreign countries. 2 


WILLIAM BRADFORD, A.N.A. 


(About 1830)—1892 


William Bradford was born at New Bedford, Massachusetts. 
His first studies in painting were at Fairhaven and Lynn, and later 
upon the coasts of Nova Scotia and Labrador. He accompanied Dr. 
Hayes the explorer on several voyages to the Arctic regions, securing 
subjects for pictures which in a remarkable way reproduce the charac- 
ter and feeling of the North. 


JULES BRETON 


Jules Breton is the doyen of the school of sentimental-anecdotal 
peasant pictures. Millet had studied the peasants as he found them, 
Breton invested them with a poetry of his own imagining. 

After studying under Félix de Vigne and Drdlling, Breton made 
his first appearance at the Salon in 1849. In 1853 he moved into 
the first rank of the painters of the French rustic by his picture of “ The 
Gleaners,” followed in 1859 by “ Return of the Reapers,” both of which 
are in the Museum of the Luxembourg. He received the Legion 


of Honor in 1861, was made an officer in 1867, a member of the Insti- 
tute in 1886, and Commander of the Legion in 1889. He is now a 
veteran of seventy-five years, having been born at Courriéres, Pas- 
de-Calais, in 1827. 


ALEXANDRE CABANEL 
1823-1899 


Alexandre Cabanel was the incarnation of the academical spirit, 
and enjoyed to the full the rewards of official recognition. Born at 
Montpellier, the city of professors, nourished from his youth on aca- 
demic milk, winner of the Prix de Rome at the age of twenty-two, 
awarded the gold medal at the Universal Exposition of 1855, and 
made head of the Ecole des Beaux Arts under N apoleon III., he went 
on his way, as Muther says, laden with orders and offices, amid the 
tumultuous applause of the public. 

In his earliest days he painted some portraits of ladies that are 
full of serious grace. But the pictures which the public insisted on 
having were a long series of beautiful women, in more or less of 
attire, bearing different names, but having a distinct family resem- 
blance, excellently drawn, painted with skill, but leaving one cool and 
untouched at heart. 


ANTONIO CASANOVA Y ESTORACH 


Casanova was born at Tortosa, Spain, in 1847, and at the age of 
thirteen entered the local art school. Later he proceeded to the 
Madrid Academy and studied under Federico de Madrazo; won the 
Prix de Rome, and spent four years in Italy. Thence he went to Paris 


on business, at the same time exhibiting a picture, which was well re- 
' ceived, as also was another two years afterwards, so that he resolved 
to settle there. 

His scenes of court life in the seventeenth century represent his 
most important work, but his satires on the priesthood have secured 
the widest popularity. 


THURE VON CEDERSTROM 


A Swedish nobleman with the title of baron, and brother of Gustav 
Olaf von Cederstrom, Thuré was born on the family estate of Aryd, 
Smaland, in 1843. He went to Diisseldorf and entered the Academy 
under Albert Baur, later enrolling himself at the Weimar Art School. 


CHARLES CARYL COLEMAN, A.N.A. 


Born at Buffalo, New York, in 1840, Coleman went to Europe 
in 1859 and again in 1866. Since the latter date he has resided 
abroad; for a time having a studio in London, but later establishing 
himself in the Island of Capri. He is a painter of the figure, of still- 
life, and landscape, some of his most effective pictures having for sub- 
ject picturesque nooks in Capri. 


MATTEO VITTORIO CORCOS 


Corcos was a pupil of Domenico Morelli at Naples. He has won 
medals at the exhibitions of Turin and Milan, and is a Chevalier of the 
Orders of St. Maurice and Lazare. 


JEAN BAPTISTE CAMILLE COROT 
1796-1875 


It was in a little house at the end of the Rue du Bac that the sweetest 
poet and painter of the nineteenth century first saw the light; and 
amidst the material accompaniments of a court modiste’s establish- 
ment. For the Tuileries were immediately across the river, and M. 
Corot’s tact had secufed récognition at the Court of Napoleon for 
Madame Corot, Marchande de Modes. It was hoped too that Camille 
would grow up to do something considerable in business. So he 
was sent to a high school at Rouen, and then apprenticed to a linen- 
draper. However, after eight years’ opposition the father consented to 
his becoming a painter, and made him a yearly allowance of 1,200 
francs. | 

This was in 1823, and Victor Bertin became his teacher; “in other 
words,” as Muther says, ‘‘ Classicism, Style, and Coldness.” The course 
of training was supplemented by the orthodox visit to Italy, which he 
made with Bertin and Aligny. Here he practised making quick 
sketches, so as to secure the animation and character of the figures 
and groups as they moved or loitered in the streets. Otherwise his 
studies were of the usual academical kind, and it was only after his 
return from a third visit to Italy, in 1843, that he opened his eyes to 
the charm of French landscape. 

Already, however, he had felt the influence of Rousseau, but it 
was not until he began to apply it to the painting of French land- 
scape that his emancipation from academical tradition really com- 
menced. The springtime of his art thus lasted fifty years, followed by 
a twenty-five years of summer. For autumn and decline, still less win- 
ter, were no parts of Cordt’s life: He enjoyed the blessing of per- 
petual youth, and the works which made him Corét are the youth- 
ful works of an old man. 

He spent his days between Paris and his country home in Ville 
d’Avray; at the latter communing with nature, and in Paris setting 
upon canvas the secrets which he had learnt from her—those, espe- 


cially, of the dawn and evening. His other passion was music; he 
attended the opera, played upon the violin, and passed his days in song. 
For the rest, he was a bachelor, a sister keeping house for him; and 
when she died, he followed her within the year. “ Rien ne trouble 
sa fin c’est le soir d’un beau jour,” 


HERMAN CORRODI 


Herman is the twin brother of the historical painter Arnold C., 
and was born in Rome, whither their father, Salomon Corrodi, the 
landscape painter, had migrated from Zurich. He studied in Rome 
and Paris in company with his brother, after whose death, in 1874, 
he made several visits to the East. According to the seasons, he 
divides his time between his three studios in Rome, Baden-Baden, 
and London, | 


SALOMON CORRODI 
1810- 
This landscape painter was born at Zurich, in Switzerland, but 


moved to Rome at the age of eighteen. He was the father of the 
twin brothers Herman and Arnold C, 


AELBERT CUYP 


1610-1691 


Very little is known of the life of Aelbert Cuyp, who was born at 
Dort and lived and died there. His father, Jacob Gerritz, was a painter, 


chiefly of portraits; and a third member of the Cuyp family, Benjamin, 
who is supposed to have been Aelbert’s cousin, was a painter, influenced 
by the art of Rembrandt. It is assumed that Cuyp visited other parts 
of Holland before settling down in his native city on the Maas. This 
river, with its broad, placid water reflecting large, clear skies, seems 
to have set a note of feeling to all his work—a note of ample and benign 
serenity, attracting him also to the fascination of effects of atmosphere 
and of aerial perspective. Equally was he a student of the charm of 
the river’s narrower reaches, bordered by lush pastures, dotted with 
lazy, rich-colored kine. Cuyp was, indeed, a painter of remarkable 
versatility, introducing figures and horses into his landscapes with 
facility, painting also marines and shipping, horse fairs, portraits, and 
still-life. In all he proves himself a temperamental painter, impressing 
upon his subjects an originality that is without effort or mannerism, 
as refined as it is large in feeling, 


CHARLES FRANCOIS DAUBIGNY 


1817-1878 


Daubigny, the youngest of the Fontainebleau-Barbizon group, 
was born in Paris, and spent his childhood with a nurse in a little 
village near L’Isle Adam. He inherited artistic tastes, for his father 
was a teacher of drawing, and an uncle and an aunt were miniature 
painters who exhibited at the Salon. So he received his first lessons 
from his father, and then entered the studio of Delaroche, subsequently 
tramping on foot with a fellow pupil to Italy, spending some months 
there, and then visiting Holland. 

His first picture at the Salon, exhibited in 1838, was a landscape, 
painted in the neighborhood that he had known as a child. Most of 
the great landscape painters have begun life as dwellers in cities. It 
was otherwise with Daubigny, and the fact must have had much to 


do with his particular choice of subjects. It was not nature itself, 
but nature in relation to human life, that attracted him—the pleasant, 
habitable countryside, the paysage intime; and as he had roamed by 
the Oise when a child, so, as a man, he returned to his old memories 
and made that river and the Seine and Marne the special subjects of 
his study. 

And this returning to old memories was likewise characteristic, 
for to the end Daubigny had a boy’s heart, sweet, wholesome, and 
happy; not, however, a dreaming one, like the perennial child-heart 
of Corét, but a more practical one, with a taste for the comfortable- 
ness of life. The lockers of the houseboat in which he journeyed 
up and down the rivers were stocked with creature comforts. But of 
all that famous group he was nearest to Corot in artistic sympathy; 
without, however, Cordt’s mystery and spirituality, his own poetry 
being rather of an idyllic and familiar strain. 


ALEXANDRE GABRIEL DECAMPS 
1803-1860 


Decamps when a little boy was sent by his father from their home 
in Paris to run wild for three years in a lonely valley in Picardy. 
Here he lived with the peasants, talked their patois, and sucked in 
nature. As a consequence certain tendencies clung to him through 
life: an affection for rude things generally, a sort of rebelliousness 
against discipline and polish, a delight in rough and picturesque 
surfaces, and a largeness of interest, which made him indifferent to 
nothing provided it offered a chance for painting. For he was a 
painter to his finger-tips; and always an individual one. 

He had missed the discipline of learning to draw. “I was re- 
ceived into the atelier of M. Abel de Pujol,” he says himself, “ and 
worked willingly at first. Unfortunately the master, who was kind 


and indulgent and absorbed in his own labors, was little qualified to 
make me understand the utility and importance of studies which to 
me seemed little else than monotonous. I took a dislike to the work 
and quitted the atelier. I tried at home some little pictures; they were 
bought, and my education as a painter was missed.” 

In those days he defined a classicist as ‘‘a painter who does not 
sell,” but in later life he regretted the lack of training and discipline. 
According to M. Chesneau: “‘ When we descend deeply into Decamps’ » 
individuality, which avoided alike tenderness, sincerity, and arrogance, 
we find, veiled by the usages of the world, a soul profoundly sad. He 
paid by the worth of his artistic conscience for the want of moral energy 
which made him leave off study too early. He lived with the crush- 
ing certainty that he had not expressed what was in him; he died 
with the conviction of having left his work undone.” 

On the other hand, as Muther says, “there is an individuality in 
every one of his works; not an individuality of the first order, but one 
that is decidedly charming, and that assures him a very high place 
among his contemporaries.” He is a great master of pictorial caprice. 


FRANZ VON DEFREGGER 


Defregger up to the age of fifteen kept his father’s cattle on the 
pastures of the Ederhof, near his native village of Stronach in the 
Tyrol. The old farm-house where he was born, in 1855, lay isolated 
among the wild mountains; he went about as a boy among the peas- 
antry, and when his father died took over the farm at the age of twenty- 
two. He was thus a man in the full sense before the chance came 
to him of following his dream to become a painter, and too old to be- 
come a good painter in the strict sense. So when, after the sale of his 
farm, he presented himself in Piloty’s studio at Munich, he was some- 
what like Millet in the studio of Delaroche: a blunt, uncouth youth 
with little relish -for the master’s theatricalities, who had, however, a 
clear knowledge of what he wished to do. 


And what Defregger longed to do was to paint the life of the 
Tyrolese peasant, the people whom he knew and loved; and his de- 
ficiencies as a painter were reénforced by his knowledge and sym- 
pathy. While the other painters of the day, in their attempts at peas- 
ant genre, were dressing up models in costume, and investing them 
with imaginary sentiment, Defregger returned to the haunts of his 
childhood and painted the people simply and cordially as they were. 
So, of all who came out of Piloty’s studio, he is at once the simplest 
and the healthiest. 

His reputation speedily grew. He was made a member of the 
Academies of Munich, Vienna, and Berlin; gained medals in Paris, 
Berlin, and Munich, and finally, in 1883, his patent of nobility. 


ADRIEN LOUIS DEMONT 


Born at Douai in 1851, Demont was first trained for an official 
career. But he abandoned it for painting, and studied with Jules 
and Emile Breton; subsequently marrying the former’s daughter, her- 
self an admirable painter, Madame Virginie Demont-Breton. He is 
represented in the Luxembourg and many other French museums, 
received a gold medal at the Universal Exposition of 1889, has been 
similarly honored in Munich and Antwerp, and is a Chevalier of the 
Order of St. Michael of Bavaria and of the Order of Santiago of Por- 
tugal. 


JEAN BAPTISTE EDOUARD DETAILLE 


Since the death of De Neuville cut short the rivalry in popular 
estimation between himself and Detaille, the latter has remained the 


undisputed leader of French military painters. He was the favorite pu- 
pil of Meissonier, to whose studio he went after his graduation from the 
Lycée Bonaparte at the age of seventeen. His first Salon picture, 
exhibited in 1867, represented a corner of the master’s studio, and the 
following year he accompanied Meissonier to the Mediterranean, 
where he began to study military subjects. In the struggle of 1870 he 
gained experience of war, serving in the Garde Mobile during the 
siege of Paris, and the pictures which it prompted were received with 
great enthusiasm in Germany as well as in France. 

Writing to the late Judge Hilton in 1887 regarding his “ Defence 


’ 


of Champigny,”’ which that gentleman had just purchased, he says: 
“T have endeavored to portray, in the most exact manner possible, the 
various scenes of which I was a witness.” The remark very well sums 
up the character of his pictures. They are accurate records of warfare 
and French military life. He has been loaded with honors, and at 


the Exposition of 1900 was Hors Concours. 


NARCISSE VIRGILIO DIAZ DE LA PENA 
1807-1876 


“You paint stinging nettles and I prefer roses,” Diaz once re- 
marked to Millet. And it was characteristic of his genius, of his South- 
ern ardor and love of light; a love so free from serious significance 
that for him “nature was a keyboard on which to play capricious 
fantasies’ of color; the human form itself an exquisite contribution 
of surface for variations in the play of light. 

He was of noble Spanish origin, born at Bordeaux, whither his 
parents had sought refuge from the Revolution across the Pyrenees. 
But his father dying when he was young, the mother moved to Paris, 
and supported herself by giving lessons in Spanish and Italian. At 
ten years old he was left an orphan, and was adopted by a Protestant 


clergyman at Bellevue. About this time he lost his leg, in consequence 
of the bite of a poisonous insect. From his fifteenth year he worked, 
first as an errand boy and then as a painter on china, together with 
Dupré and Raffet, at the porcelain factory at Nantes. But, having 
some disagreement with his master, he flung up his employment and 
returned to Paris. Here he lived by incredible shifts, until one day 
he exhibited, on speculation, in a dealer’s window “ The Descent of 
the Bohemians,” hoping to sell it for a hundred francs. A Parisian 
collector bought it for fifteen hundred. Diaz was saved, and migrated 
to the Forest of Fontainebleau. 

For a time he painted figure subjects, creating for himself a style by 
a union of the manner of Prudhon and of Correggio. His pictures sold 
readily; he amassed a considerable fortune, and was able to build 
himself a charming house in the Place Pigalle. But now he came 
under the influence of Rousseau and turned his thoughts to landscape, 
commencing the series of studies of Fontainebleau Forest with which 
his name is imperishably associated. 

He never acquired the science of his master, yet his work had its 
own individual inspiration. His fervent imagination found in the deep- 
est recesses of the wood that fantastic harmony of light and shade 
which stirred him like gypsy music. For what he lacked in knowledge 
he made up by virtuosity. He sang as he worked, and his work had 
the quality of musical improvisation. 

When, in the winter of 1876, he found himself attacked with pul- 
monary trouble, he fled to Mentone that he might have light and 
warmth. In the presence of these he closed his eyes forever. 


CARLO DOLCI 
1616-1686 


Florence was the city of Dolci’s birth and death. He was a pupil 
of Jacopo Vignali, and a skilful painter, though a victim of the senti- 


f 
; 
. 


mentality and weakness into which Italian art fell during the seven- 
teenth century. But in his best works may be found real feeling and 
grace, and in all of them delicacy and refinement. ‘ His figure of 
Poesy in the Corsini Palace, Rome, his St. Cecilia at Dresden, his 
large composition of St. Andrew in prayer before his martyrdom in the 
Pitti Palace, are sufficient to entitle their author to a place in art more 
than respectable”’ (National Academy Catalogue). His daughter 
Agnes imitated and copied her father’s work. 


G. RUGER DONOHO 


G. R. Donoho was born at Church Hill, Mississippi. He studied 
in Paris under Boulanger, Lefebvre, Bouguereau, and Fleury. 


GERARD DOU 


One of the most celebrated of the “ Little Dutchmen,” Dou was 
born at Leyden, in which city, except for occasional travel, his life was 
spent. He first studied with his father, who was a glass painter, and 
then entered the school of Rembrandt at Amsterdam, remaining there 
three years. His works display a wonderful mastery of delicate execu- 
tion, and were highly esteemed by his contemporaries. It is recorded 
that an amateur of the name of Spiering paid the painter an annual 
sum of a thousand florins for the privilege of having the first choice 
of his pictures. Dou stands at the head of the Leyden school, and 
numbered among his pupils Metsu and Franz van Mieris the elder. 


JULES DUPRE 
1812-1889 


The tragic chord in the symphony of the Barbizon painters was 
struck by Jules Dupré. His was a passionate nature, finding a satis- 
faction in melancholy; for his later life, at least, was far from being 
unhappy, fully occupied with painting and reading and the companion- 
ship of a few friends. 

He was born at Nantes, his father being the owner of a porcelain 
factory on the banks of the Oise. At thirteen years he was the prin- 
cipal decorator of the factory; but was spending his leisure time in 
wandering over the fields, filling his sketch-book with studies, and at 
eighteen the little china painter had become a young master. He 
now proceeded to Paris, and commenced to study the old masters 
at the Louvre. At this time he made the acquaintance of Rousseau, 
a youth of his own age, and the friendship was formed which was to 
continue through their lives, and to leave a lasting impression upon art; 
for they became the leading spirits in the formation of the Fontaine- 
bleau-Barbizon school. Dupré had the more even temperament, 
which enabled him to make better headway with the world; but as 
influence and popularity came to him he used both to champion his 
friend. On one occasion, for example, Rousseau had been carrying 
a picture round to the dealers, vainly endeavoring to sell it. Dupré 
took it to Baroilhat, the singer, and induced him, much against his 
will, to buy it for 500 francs. It was the masterpiece “ Le Givre,” 
sold twenty years later at Baroilhat’s sale for 17,000 francs, and now 
in the Walters Collection at Baltimore. 

Dupré’s first appearance at the Salon was made in 1831, when his 
picture was bought by the Duc de Nemours; a circumstance which 
laid the foundation of his fame and fortune. His first medal was re- 
ceived in 1833; the Cross of the Legion in 1849, and officership in 
1870. Three years earlier Rousseau had died, prostrated with dis- 
appointment that this last honor had been withheld from him. 


Dupré’s later life was spent at L’Isle Adam, across the river from 
his childhood’s home in Nantes. Here he occupied a modest house, 
unpretendingly comfortable and fitted for industry and restful leisure; 
rarely missing his evening walk, enjoying it all the more if the storm 
clouds thronged the sky; reading much, and assimilating what he 
read; welcoming his friends; living to see the principles of his life ac- 
claimed by popular consent, yet holding himself aloof, undisturbed by 
success. The youth’s love of nature remained the unspotted passion 
of the man. 


LEON VICTOR DUPRE 


Victor Dupré was born at Limoges in 1816, being four years 
younger than his more famous brother Jules. The latter’s greatness 
has unduly dwarfed his pupil’s reputation in the eyes of the public; 
yet Victor was in thorough sympathy with the spirit of the Barbizon 
painters, and possessed himself great technical skill and a fine sense 
of color. 


HELEN LE ROY D’ETIOLLES 


A Parisienne and a pupil of Benjamin Constant, Madame Le Roy 
d’Etiolles is a painter of portraits and figure subjects. She obtained 
a medal of the third class in 1890, 


GIACOMO FAVRETTO 
1849-1887 


Favretto, the son of a poor joiner, lived the whole of his short life 
in Venice. His admission as a student at the Academy was arranged 


for by a gentleman who had seen the child in a stationer’s shop, ex- 
hibiting his skill in cutting out silhouettes in black paper. When 
the naturalistic movement, headed by Morelli in Naples, reached 
Venice, it secured a warm adherent in Favretto. He began to take 
his subjects from every-day life, and soon developed a very individual 
style; adopting a liberal use of browns and blacks, lighted up by 
touches of pure orange, green, and blue—a color arrangement that 
forms one of the distinguishing marks of his work. 

Queen Margherita during her summer visits to Venice took a per- 
sonal interest in the painter, and bought several of his pictures. 


JEAN LEON GEROME 


“Whatever Gérome has done shows semi-classic drawing, ethio- 
logical and archzological knowledge, Parisian technique, and exact 
detail.” He was, as Mr. Van Dyck says, “first a leader of the new 
Greeks, painting delicate mythological subjects; then a historical 
' painter, showing deaths of Czesar and the like; then a genre painter, 
depicting contemporary subjects in the many lands through which he 
has travelled.” The character of his art is scholarly. 

Born at Vesoul in 1824, he became a pupil of Delacroix, whom 
he followed into Italy. Upon his return he studied further with 
Gleyre, and, failing to win the Prix de Rome, travelled in Russia and 
Egypt. 

From the latter he brought back a number of studies that instantly 
made him famous, though they have less merit than the ones which 
resulted from a second visit to the same country. His reputation 
was still further advanced by his “Duel after a Masked Ball,” 
painted with a dispassionate coldness that increases the horror of the 
tragedy. The same impassive attitude of mind was repeated in vari- 
ous other pictures of horror and in others of sensuous significance, 
as “ Phryne before the Tribunal.” Indeed, throughout Gérome’s 


pictures there is no trace of personal feeling. He makes a cold analy- 
sis, and dispassionately records the facts. 

He has been a member of the Institute since 1873, a Commander 
of the Legion since 1878, and at the Paris Exposition of 1900 was 
president of the jury. Every honor, in fact, that France bestows upon 
its favorite painters has fallen to him, 


FRANCESCO GUARDI 
1712-1793 


Guardi was the pupil of Canaletto, and like his instructor, excelled 
in architectural views of Venice, although less accurate than his mas- 
ter’s in details and more sketchy in the execution of the figures. They 
are, however, rich in color, and very spirited and lifelike. He was born 
and died in Venice. 


JOHAN HUBERT LEONARDUS DE HAAS 
1832— 


In the revival of Dutch landscape painting during the last century 
De Haas played a distinguished part. He was essentially a realist, 
painting the quiet pasture lands of Holland as he saw them, but with- 
out any particular consciousness of poetical feeling within himself or 
of poetic suggestion in nature. 

He was a pupil of P. Van Os at the Amsterdam Academy, and 
established his reputation in 1855 with two large cattle-pieces. Since 
then his pctures appeared regularly in the exhibitions, and have found 
their way into collections both in Holland and in foreign countries. 


JEAN JACQUES HENNER 


Henner’s father, a poor carpenter of Bernwiller in Alsace, was 
the first to recognize the child’s skill in drawing, and devoted himself 
to its advancement. Upon his death-bed he laid the duty upon his 
older sons, who faithfully discharged it. After learning drawing under 
Gontzwiller at the College of Altkirchen, Henner studied painting 
with Gabriel Guérin in Strasbourg. Thence, with the help of a pension 
_ from the Department of the Rhine, he proceeded to Paris and entered 
the Ecole des Beaux Arts as a pupil of Drolling and Picot. Having 
won the Prix de Rome in 1858, he spent five years in Italy, afterwards 
painting in Dresden and travelling in Holland. 

To the Salon of 1865 he sent “ Susannah and the Elders.” It already 
showed his ability as a painter of flesh, received a medal, and was pur- 
chased for the Luxembourg.. Henner had broken away from the 
manner of the Academicians; investing the figure with delicate idealism, 
enveloping it in a delightful mystery, and making the flesh velvety 
and soft and vibrating with light. Later on, in his endeavor to in- 
tensify the purity of the flesh tones, he chooses the twilight hour, set- 
ting his forms in the darkening landscape, “when only a small blue 
space in the sky or a silent forest-lake still for a moment preserves the 
reflection of vanishing daylight.” 

Henner has done bad work as well as good, but at his best is a true 
poet-painter of sweet girl faces and the beauty of female forms. 


CHARLES EMILE JACQUE 


1813-1894 


Last survivor of the school of 1830, Jacque entered late into fel- 
lowship with them as a painter. In early life he had been a map en- 
graver; then served as a soldier for seven years. After leaving the 


army he resumed engraving, and worked for two years in England 
as a draughtsman on wood. Later he took up etching, and had a large 
share in bringing about a revival of interest in the art. His prints were 
medalled at the Salon of 1851, but it was not until ten years later that 
he gained an honor for a painting, although he had begun to paint 
as far back as 1845. Then again he received medals in 1863 and 1864, 
and in 1867 the Legion of Honor. By this time his pictures found such 
ready purchasers that he ceased to exhibit at the Salon, so that his 
list of honors is comparatively small. 

His sympathies were with rustic life, and particularly with ani- 
mals. The pig attracted him as a subject; he not only painted the 
barnyard fowls, but loved them and wrote a book about them. Yet 
it is for his representation of sheep that he is most highly esteemed. 
He loved especially to paint them in the evening twilight. 

His experience with the burin and needle had made him a free and 
precise draughtsman; he knew his animals thoroughly, their character 
as well as their construction, and used color, often most impressively, 
and always with breadth and force. At times, also, his work is full 
of serious poetry. 


CORNELIS VAN CEULEN JANSSENS 
1594 27-1664 ? 


This painter’s name appears in several forms, as Jassens, Janson, 
Janzoon, and Jonson. Some writers give the place of his birth as 
Amsterdam, while others assume it to have been London, all on the 
authority of an archival register at Amsterdam, dated January oth, 


”” 


1646, wherein the painter, ‘ Cornelis Jonson of London,” returns his 
age as 52; a document which seems to fix the year of his birth as 
1594. He was painting in England, and chiefly in London, from about 
1618-1648. The arrival of Van Dyck in 1832, and the high favors 


bestowed upon him by King Charles, must have seriously affected 


Janssens’ fortunes, but it was not until the Parliamentary party had 
triumphed in the civil war that he and his family migrated to Holland. 
He was at Middleburg in 1643, at the Hague in 1647, and at Amster- 
dam in 1646 and 1662. In 1664 his wife had become a widow, and 
was living at Utrecht. He seems, therefore, to have led a somewhat 
wandering life, and to have died at about the age of 7o. 

Portraits by Cornelis Janssens vary much in quality, and to some 
extent in style as well; the influence of Van Dyck being often appar- 
ent, either in an unusual freshness of color or by a certain finesse in 
the pose. In general, the flesh tones are pallid, and the costumes and 
accessories indicate a naturally cold eye for color. Otherwise he is 
a clever painter, refined in conception, correct in drawing, and care- 
ful in details. 


PIO JORIS 


Pio Joris was born at Rome in 1843, and became a pupil of the 
Academy of St. Luke, studying also with Fortuny. From 1869 to 
1872 he visited Venice, Munich, Paris, London, and Spain, making 
in the last-named a more lengthened stay. His landscapes and genre 
pictures, many of the latter representing the magnificent ceremonial 
of the Church, have won a large number of honors, culminating in 
the Gold Medal at the Paris Exposition of Igo00. ° 

He is also a distinguished water-color painter, being president of 
the Société Belge des Aquarellistes and of the Société des Aquarellistes 
of the Hague. His studio is in Rome. 


HUGO KAUFFMANN 


Son of the genre and landscape painter Hermann Kauffmann, Hugo 
was born at Hamburg in 1844. He became a pupil of the Stadel Insti- 
tute at Frankfort under Jacob Becker and Zwerger, and also studied 


for some time at Diisseldorf. Between the years 1863 and 1871 he 
made his home at Kronberg in the Taunus, with an interval, how- 
ever, of one and a half years spent in Paris, Finally he settled in 
Munich. 


LUDWIG KNAUS 


The foremost genre painter in Germany, Ludwig Knaus was born 
at Wiesbaden in 1829. After studying at the Diisseldorf Academy 
under Sohn and Schadow, he worked for eight years in Paris, with 
the exception of some months spent in visiting Italy. It was this 
Parisian experience that set the mark upon his art. From the point 
of view of subject, his pictures are no better nor worse than those of 
the rest of the Dtisseldorf school; but he had a natural instinct for 
color, and his contact with the French developed a skill of craftsman- 
ship that placed him above his contemporaries in Germany. 

After leaving Paris he lived for five years in Berlin, and then moved 
to Dusseldorf, returning to Berlin eight years later to occupy the posi- 
- tion of professor at the Academy. He is a member of various acade- 
mies, holder of a great number of medals, and an officer of the Legion 
of Honor. 


DANIEL RIDGWAY KNIGHT 


Philadelphia is the birthplace of D. R. Knight; Poissy, in France, 
the home of his adoption. Here, in the early seventies, he settled near 
the estate then occupied by Meissonier, of whom he had been a pupil, 
and built himself a studio of glass, with the purpose of studying fig- 
ures in natural light. On arriving in Paris he at first worked under 
Gleyre, and began by painting little genre pictures, which, after his 
study with Meissonier, he abandoned for large figures of peasant girls 


set ina landscape. He was one of the painters early influenced by the 
plemn-air movement, though he cannot be said to have been very suc- 
cessful in introducing the principles into his own practice. 


J. H. B. KOEKKOEK 
1778-1851 


Johannes Hermanus Barend Koekkoek was the father and teacher 
both of Barend Cornelis and of Hermanus Koekkoek. He is best 
known by his sea views, one of which, painted in 1847, is in the New 
Pinakothek at Munich. 


CARL KRONBERGER 


Kronberger was born at Freystadt, Upper Austria, in 1841, and 
studied at the Munich Academy under Anschiitz. 


SIR THOMAS LAWRENCE, P.R.A. 
1769-1830 


Lawrence early distinguished himself by his ability in drawing. 
His father was landlord of the Black Bear Inn, Devizes; and the first 
efforts of the young painter which attracted notice were some portraits 
in chalk of his customers. At the early age of ten years he set up as 
a portrait painter in crayons at Oxford; and shortly afterwards ven- 
tured to take a house at Bath, where he immediately met with much 
employment and extraordinary success. In his seventeenth year he 
commenced oil painting; and in 1787, twelve months afterwards, 


settled in London, entering himself as a student in the Royal Academy. 
His success in London was as great as it had been in the provinces. 
In 1791, though under the age required by the laws (twenty-four), 
he was elected an associate of the Academy, and after the death of Sir 
Joshua Reynolds in the following year, succeeded him as painter to 
the king. In 1794 he was elected a Royal Academician; at the age of 
twenty-five was knighted by the Prince Regent in 1815; and at the 
death of West, in 1820, was unanimously elected President of the 
Academy. from the time of his election as a member of the Academy 
to his death, his career as a portrait painter was unrivalled. He died 
in London, at his house in Russell Square, January 7, 1830. He was 
a member of the Academy of St. Luke at Rome, and of many other 
foreign academies, and in 1825 was created a Chevalier of the Legion 
of Honor. 


JEAN HIPPOLYTE PAUL LAZERGES 


Paul Lazerges was a pupil of his father, Jean Hippolyte Raymond 
Lazerges. He gained a medal of the third class in 1884, and of the 
second class in 1898. 


FRANZ VON LENBACH 


Germany’s greatest of living portrait painters was born in 1836 
at Schrobenhausen, in Upper Bavaria. In his earliest pictures, such 
as the “ Shepherd Boy ” and “ Peasants Taking Refuge from a Storm,” 
he appeared as a realist. They are painted with a blunt and vigorous 


fidelity to nature that at the time shocked people accustomed to the 
smooth artificiality of contemporary German work. 

In his portraits, however, he has passed away from realism in the 
sense of exact representation. They are sincerity itself, so far as em- 
bodying the subject as he sees it, but what it is that he sees in the sub- 
ject is the spirit of the man or woman. As some French critic re- 
marked, Lenbach is un évocateur d’émes. By emphasizing some points 
and disregarding others he conjures up the spirit by the face. “ He 
only paints the eyes with thoroughness, and, possibly, the head. 
In a head by Lenbach there glows a pair of eyes which burn them- 
selves into you. The face, which is the first zone around them, is more 
or less, generally less, amplified; the second zone, the dress and hands, 
is either still less amplified or scarcely amplified at all. The portrait 
is then harmonized in a neutral tone, which renders the lack of finish 
less obvious.” Lenbach’s greatness results from his remarkable per- 
sonality, even more than from his artistic qualities. ‘He had not 
only eye and hand; but likewise elbows and a tongue which placed 
him hors concours. He could be as rude as he was amiable, and as 
deferential as he was proud; half boor and half courtier, and at once 
a great artist and an accomplished faiseur, he succeeded in forcing 
upon society his own tastes, and in setting genuine human beings of 
strong character in the place of the smiling automatons of fashionable 
painters.” 


STANISLAS LEPINE 


Stanislas Lépine was born at Caen in Normandy, and has won a 
very individual rank among the French landscape painters. He paints 
upon the coast of Calvados and along the rivers of France, having a 
special fondness for the Seine, both in Paris and its suburbs. He ex- 
hibits rare skill in the pictorial representation of buildings and in seiz- 
ing the spirit of the scene, and invests his pictures with delicate atmos- 
phere and tone. 


—=- es eee ee 


ADOLPHE ALEXANDRE LESREL 


Born at Genest in the Manche, Lesrel became a pupil of Gérome 
and a painter of genre and occasionally of historical subjects. His 
predilection is for the period of the Renaissance. 


TITO LESSI 


Lessi served his art apprenticeship in Florence under Ciseri. Three 
of his uncles were painters, and with one of them he studied architect- 
ure and perspective. In 1888 he moved to Paris, and soon achieved 
distinction, winning a gold medal at the Paris Salon of 1895; one at 
Munich in 1896, and the Highest Award at Berlin in 1897. 


CESARE MACCARI 


Maccari was born at Sienna in 1840, and in his youth studied 
sculpture under Sarrocchi. In 1863, however, he decided to become 
a painter, and put himself under the instruction of Mussini at the 
Sienna Academy, acquiring that remarkable skill in drawing which 
has distinguished the other pupils of that master. Having received 
a pension from the Academy, he visited other parts of Italy, and 
then settled in Rome. The pliability of his talent has been shown 
by the excellence of his small genre pictures as well as of large his- 
torical ones. But his reputation is most firmly based upon his fresco 
decorations; and of these, the ones executed in the Palazzo del Senato 
at Rome are the most successful. 


RAIMUNDO DE MADRAZO 


Raimundo belongs to the third generation of Madrazos, who for 
more than a hundred years have been distinguished Spanish painters. 
He was born at Rome in 1841, while his father, Federico, was presid- 
ing over the Spanish Academy in that city; and when the father moved 
to Madrid to become the head of its Academy, he there superintended 
his son’s education. When Federico died, in 1859, Raimundo went 
to Paris and studied with Winterhalter, making the acquaintance of 
Fortuny, whose brother-in-law he became, and forming one of the 
brilliant band of Spanish painters in France, that included also Rico, 
Zamacois, and Casanova. At his first appearance, in the Salon of 1878, 
he gained a gold medal and the Cross of the Legion. areas 

It is as a painter of costume pictures, with sheen and sparkle of 


many-hued fabrics, that he has done his best work. 


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HAN S MAKART 
1840-1884 


Makart was born at Salzburg, and became a pupil of the Vienna 
Academy under Ruben, afterwards studying for four years with Piloty 
at Munich. At the age of twenty-nine he was invited to settle at 
Vienna by the Emperor Francis Joseph. Honors were showered 
upon him; his name was used by enterprising advertisers to distin- 
guish the superiority of their wares; he was the vogue; his studio — 
in the Ring Strasse presented a prodigality of rare and beautiful 
fabrics and works of art; he aroused German Philistines to an appre- 
ciation of the beautiful, and was the first German 


¢ 


‘painter’ of the = 
century. He was a little man with a black beard, piercing dark eyes, 
and a splendid broad-browed head, who dressed in a velvet coat, a 
pair of riding breeches, and Wallenstein boots. 


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Among his best creations are the Abundantia pictures, in the Pina- 
kothek at Munich, and the ceiling decorations in the Palais Tumba at 
Vienna. He was an inspired scene-painter, and it is his merit to have 
announced to Germans afresh, in an overwhelming style, that revela- 
tion of color which had been forgotten since the Venetians and Rubens. 

In 1884 he became insane and died. 


CESARE MARIANI 


Mariani was a pupil of Minardi at the Academy of St. Luke in 
Rome. He was intrusted with a commission to decorate some of the 
wall compartments in the Church of San Lorenzo fuori le Mura, and 
since their completion has executed other mural decorations, 


ANTON MAUVE 
1838-1888 


One of the most distinguished of modern Dutch landscape painters, 
Anton Mauve was born in Zaandam, and became a pupil of Pieter Van 
Os. At first he painted in the precise manner of his master, but the 
pictures of Willem Maris introduced him at once to a freer method 
of painting and to a closer study of nature. He attained to a style 
that was very individual to himself, and to a rendering of Dutch 
landscape that is altogether truthful, with a preference for its pensive 
aspects or for the fresh, breezy characteristics of its gray days. 

He was a member of the Dutch Society of Arts and Sciences and 
of the Société Belge des Aquarellistes, and a Knight of the Order of 
Leopold. His works are in the Rijks Museum at Amsterdam, in the 
Museums of the Hague and Rotterdam, and in most of the important 


private collections of modern pictures. 


GABRIEL MAX 


Gabriel Bases was born at Prague in 1840, the son of a sculptor, 
Josef Max. After spending four years at the Prague Academy under 
Engerth, he studied for three years at Venice, finally reaching Munich 
and working with Piloty. From 1879 to 1883 he served as a pro- 
fessor in the Munich Academy. 

But while Piloty equipped him with technique, he had come to 
Munich with the spirit within him already certain of itself. He had 
spent his youth in an old ghostly house; as a child at the death of his 
father he had his first “ vision”’; the investigation of dead birds had a 
peculiar interest for him, and the earliest picture which he finished at the 
Prague Academy and sold was entitled “ Richard the Lion-heart Steps 
to the Corpse of his Father and it Bleeds.” There was an element 
of uncanniness in his mind, which reappeared when he began to dissect 
the elements of human spirit. He found a curious interest in asso- 
ciating beauty of young girls with a refinement of pain; so that, as 
Muther says, he seems to be by comparison with Makart the child 
of nature, a “ calculating, tormented, unhealthy talent. By education 
and temperament he was a disciple of Piloty; that is to say, a painter 
of disaster. His ‘Martyr on the Cross,’ a girl-martyr, struck the 
note in 1867 of that bitter-sweet, half-torturing, half-ensnaring tone 
which continued to be his note afterwards.” 

Even in his ideal heads there is something of the same feeling, 
yet these represent him as “a psychic painter of the highest mark; one 
who analyzes all the feeling nuances, so hard to catch, of melancholy, 
silent resignation, yearning and hopelessness, with the most delicate 
subtlety.” 


: 
3 
; 


JEAN LOUIS MEISSONIER 
1815-1891 


From his native town of Lyons, Meissonier went to Paris when 
very young, and was apprenticed to Ménier, the chocolate manu- 
facturer. He spent his leisure hours in drawing, and when he felt 
himself able to leave the factory and study painting, it was upon a 
capital of three dollars a month and of what else he could make by 
the sale of his drawings at. one or two dollars each. He studied under 
Léon Cogniet, but his real teachers were probably the pictures of the 
“Little Dutchmen” that he. studied in the Louvre and his own 
painstaking, indomitable patience’ His little rococo pictures soon 
found purchasers, and in ten years’ time he was able to buy a small 
place at Poissy, near St. Germain. In 1850 he settled himself there 
for uninterrupted work, and the little property grew into a fine country 
seat, which he supplemented later on by a stately town-house in the 
Boulevard Malesherbes. 

In 1859 Meissonier was selected to accompany Napoleon III. 
into Italy, that he might celebrate in picture the latter’s martial glory. 
The result was the “ Battle of Solferino,” which confirmed his repu- 
tation. When the war with Germany broke out, he was again called 
to the front; but after the first battle was lost returned to Paris and 
took an active part in its defence. Then he settled down to his cycle 
of-pictures of the first Napoleon, which brought him, extraordinary 
fame and wealth. But he himself spent large sums upon his pictures, 
sparing no expense for the purchase of properties, the payment of 
models, and the building up of mise-en-scénes. His industry and 
conscientious exactness were unsurpassable. Even for his small genre 
subjects he would fit up the whole scene in his studio and work at 
the canvas day after day until its correctness was assured. And it 
is in these little canvases that his best art is shown, for they have a 
more personal note, more evidence of temperament than his large 


works. 


JOHANN GEORG MEYER VON BREMEN 
1813-1886 


Meyer, called Von Bremen after the city in which he was born, 
was a pupil of the Dtisseldorf Academy under Karl Sohn and Schadow. 
He repeatedly visited Belgium, and was clearly influenced in his tech- 
nique by the Flemish painters. The summers frequently found him 
roaming in the Hessian, Bavarian, or Swiss mountains, and from the 
peasantry of these regions he has drawn a large stock of subjects. 
Finally he settled in Berlin, and was elected to a professorship at the 
Academy. He was a member also of the Amsterdam Academy, 
and held the Order of Leopold. , 


CHARLES LOUIS MULLER 


1815-1892 


From the place of his birth this painter is often known as Miiller 
of Paris. He studied under Cogniet and Gros and at the Ecole des 
Beaux Arts, afterwards devoting himself to historical subjects. His 
“Charlotte Corday in Prison” is one of the most popular pictures 
in the Corcoran Gallery of Art at Washington, D. C. He was made 
an officer of the Legion in 1859 and a member of the Institute in 1864. 


BARTOLOME ESTEBAN MURILLO 


1618-1682 


Murillo was baptized at Seville on January 1, 1618. The painter 
Juan del Castillo was a relative, and gave the young Murillo lessons 
in painting. He had marked talent, and was soon painting little heads 
of saints and sacred pictures for South America, by which he acquired 
means to visit Madrid. It seems to have been his original intention 
to pass on to England and place himself under the instruction of Van 
Dyck; but the latter’s death and the kindness which he received from 
his fellow-townsman, Velasquez, induced him to stay in Madrid. Here 
he had opportunity to study the works of Titian, Rubens, and Van 
Dyck, besides enjoying the help of Velasquez, and progressed so well 
that in 1644 Velasquez advised him to visit Italy, and offered to pro- 
cure letters of recommendation from the king. Murillo, however, 
preferred to return to Seville. 

His first works in his native city were a series of pictures for the 
Franciscan monastery, representing scenes in the life of St. Francis, 
which made such an impression that henceforth he was regarded as the 
Caposcuola of the school of Seville; his principal rivals being Francisco 
de Herrera and Juan de Valdes Leal. In 1648 he married a rich lady 
of Pilas and established himself in a handsome house, which became 
the resort of people of learning and fashion, meanwhile producing 
a large number of works, which are now scattered, some of them hav- 
ing been carried off by Marshal Soult during the Peninsular War. 
Among his earlier pictures are many studies of human life, such as 
groups of street urchins, which he painted in a very forcible and real- 
istic manner, with broad grins on their faces and dust and sunshine 
on their limbs. But his later style, and that by which he is more widely 
known, is concerned with religious subjects, more especially the sub- 
ject of the Immaculate Conception. His manner of painting loses its 
positiveness; the color becomes misty and veiled in light and his draw- 
ing refined in conception and line. The sentiment, while verging at 
times to excess of sweetness, becomes gracious and elevated. 


His death, in 1682, resulted from the effects of a fall from the scaf- 
fold while engaged upon a great altar-piece of St. Catharine for the 
Church of the Capuchins at Cadiz. Charles II. of Spain, Philip IV.’s 
successor, had appointed Murillo court painter and tried to induce him 
to settle in Madrid. But he remained true to Seville, preferring the 
service of the Church to that of the court, and is recognized now as 
the head of the Andalusian school of Spanish painting, as Velasquez 
was of the Castilian. 


ALPHONSE MARIE DE NEUVILLE 
1835-1885 


Among the French painters of the soldier on active service the 
most brilliant was Alphonse de Neuville. 

He was born at St. Omer and educated for the civil service, gradu- 
ating as a Bachelor of Arts from the law school in Paris. Meanwhile 
he had been devoting his spare time to drawing, and had been a con- 
stant visitor at the Champ de Mars, studying the military life. During 
these days Delacroix showed a friendship for him, and Picot helped him 
in his studies. The Franco-Prussian War touched the fire to his lips. 
He served as an officer in the Artists’ Brigade during the siege of Paris, 
and gained experience in real earnest of powder and smoke and the 
bullet-hail. His subsequent battle pictures reproduce this experience 
with remarkable convincingness, and in his smaller character studies 
of the soldier he shows him either in the déshadzlle of actual warfare 
or in the spick and span smartness of the parade ground; always, in fact, 
with a thorough knowledge of the inside of military life. 


AUGUST VON PETTENKOFEN 


1821-1889 


August von Pettenkofen was the first of the Viennese painters 
to observe the world from a purely pictorial point of view. After spend- 
ing his boyhood on his father’s estate in Galicia, he entered a cavalry 
regiment, and when he had served his time as an officer turned to paint- 
ing. He visited Paris, and became acquainted with the work of Alfred 
Stevens, and returned to Vienna to substitute for the hard and pol- 
ished representations of episodic subjects naturalistic studies of figures 
and landscape, in a color scheme of delicate tonality. 

His summers were spent in the little town of Spolnok on the Theiss 
to the east of Pesth, and there he wandered among the whitewashed 
houses and the booths of the dealers, watching the people at work or 
resting from their meals, with an eye particularly for the soldier off 
duty. He painted pictures in which there is little individual charac- 
terization of the persons, but an admirable rendering of the character 
of the whole scene. He was a Chevalier of the Austrian Order of the 
Crown of Oak. 


REMBRANDT VAN RYN 
1606-1669 


Rembrandt the son of Herman, the latter being the son of Gerrit, 
van Ryn was born at Leyden. His parents, hoping that he would sub- 
sequently study jurisprudence, sent him to the Latin School in his 
native city, but the boy’s love of art manifested itself so early and so 
strongly that he was placed under the tuition of the painter Jacob 
van Swanenburch. After remaining with him for three years, Rem- 
brandt studied for a short time with Pieter Lastman in Amsterdam, 


and then returned to Leyden to become a student of nature. Very 
probably he was influenced in the direction of his study by the etch- 
ings of his fellow-citizen, John of Leyden; especially in the quality of 
chiaroscuro and the subtleties of light. In 1630 he settled in Amster- 
dam, at once securing recognition and gathering around him a num- 
ber of students. Nae gee 

Indeed, at this early date he had proved himself a master; he was 
“already in the peculiar situation of an artist who has left himself no 
room for improvement except in attempting art of another kind and 
in overcoming new, though possibly not greater, difficulties.’ Dur- 
ing this first year at Amsterdam he made many etchings of his own 
face, posed in various grimaces, his mind being evidently set upon 
securing an intimacy with the shades of expression of human emotions. 
The following year he painted the portrait of Coppenol, now at St. 
Petersburg, and a year later the “ Anatomical Lecture,” of the Hague. 
In 1634 he married Saskia Van Uilenburg, a lady of good Frisian 
family and some fortune, and the eight years of their married life repre- 
sented the heyday of his prosperity and happiness. He occupied a 
handsome house, stored with works of art; for he was an enthusiastic 
collector of all kinds of beautiful things and a generous admirer of the 
good work of other painters. 

The year 1642 brought the death of his beloved wife and also the 
completion of his famous picture, the so-called “ Night Watch,” which 
however, failed to give satisfaction to the company of Archers for whom 
it was painted. Rembrandt’s troubles date from this time. Whether 
owing to the depression which war had brought to Amsterdam or to © 
his own injudicious expenditures, his affairs became gradually more 
embarrassed, until in 1656 he was publicly declared insolvent, and the 
treasures of his home and a large number of his own pictures were 
sold at auction, realizing no more than 5,000 guilders. 

After the death of his wife, as if he found his great house unsup- 
portably desolate without her presence, he devoted himself with special 
ardor to landscape, producing both in oils and in etchings those mar- 
vellous pictures which are recognized now as being “a synthesis of 
all landscapes.” Later on, when the financial crash had come and the 


great artist was being driven from one refuge to another by exorbitant 
creditors, he seems to have found a special solace in the companion- 
ship of a few stanch friends, and this was the period of his greatest 


3 


portraits, of his great picture of “ The Syndics,” at Amsterdam, and 
of many portraits of individuals. For the artist in him was so in- 
tensely rooted that the troubles of the man but set his art into deeper, 
larger manifestations, into a closer and more observant sympathy, and, 
which is far more wonderful, into a freer, fuller expression of his 
powers. More and more he reached below the surface of things to 
the underlying mystery—the mystery of nature and of the human 
mind. Poet and seer as well as painter, he discovered the infinite sig- 
nificance of life, even in its ordinary aspects. 

During the artificial eighteenth century he was forgotten, and it re- 
mains one of the glories of the subsequent century that Rembrandt was 
rediscovered and placed where he belongs, among the very few greatest 
artists of the world. 


~ 


EMILE RENOUF 


A pupil of Boulanger, Jules Lefebvre, and Carolus-Duran, Renouf 
has divided his interest between landscape, marine, and genre subjects. 
His painting, “ The Helping Hand,” is in the Corcoran Gallery of Art, 
Washington. He was born at Paris in 1845. 


MARTIN RICO 


Martin Rico was born at Madrid, and as a boy was taught drawing 
by a good-natured cavalry officer. Afterwards he entered the Madrid 
Academy, gaining a living in the intervals of study by drawing on 
wood and engraving. In the summer vacations he would wander about 


the country, mixing with shepherds and gypsies, and ever since the love 
of roving has been strong within him. When he won the Prix de 
Rome, the first time it had ever been awarded for a landscape, he chose 
Paris instead of Rome for the four years of study. On his arrival 
there he was kindly received by Zamacois, who introduced him to 
Daubigny and Meissonier. Later he became intimate with Fortuny 
and passed much time with him in Italy. 

Both his water colors and oil paintings have much of Fortuny’s 
brilliance, though more intensity of light and refinement of atmos- 
phere. 


THEODORE ROUSSEAU 
1812-1867 


In 1834 Rousseau’s first masterpiece, the “ Cotés de Grandville,” 
was awarded a third class medal at the Salon. 

Those who cared about such things discovered that the painter of 
it was the son of a tailor in Paris; that as a boy he had shown a taste 
for mathematics, then had entered the studio of the classicist Lethiére. 
But what was there of Lethiére in this picture? It seems that the 
youth had done little more than look on while the master painted his 
large Louvre pictures, “ The Death of Brutus” and “The Death of 
Lavinia,” that his “ historical landscape”’ for the Prix de Rome had 
been of no account, and that he had left the studio and wandered often 
to the open air with his paint-box. At first his daily wanderings 
took him to the Plain of Montmartre, where, unbeknown to him, an- 
other nature-student, Michel, was wont to paint. Then he discovered 
Fontainebleau, and this picture was the result. Eh bien! But what 
of the moral effect of such marked disregard for the classicist tradition? 
Should not such a rebel be disciplined? And he was, his pictures for 
the next fifteen years being refused at the Salon. Indeed, it was only 
in 1848, after the Revolution had ousted the Academic Committee of 


the Salon as well as the Bourgeois king, that honors were dealt out to 
Rousseau, and then only with grudging hands. 

Meanwhile, that early picture had been the tocsin of a new move- 
ment that was to move the world of painting, and of literature also, 
by reflected action. Rousseau had become the recognized leader of 
the gifted band which had foregathered at Barbizon; leader by force of 
his knowledge and skill as well as by force of his lofty, penetrating 
purpose. He was, as Corot said, the eagle of them all; still a mark 
for the “ slings and arrows of outrageous fortune,” for the critics aimed 
their taunts at him, and he flew too high to be properly appreciated 
by the public of his day. 

Yet at the Exposition of 1855 he made clear to the world what 
manner of painter had arrived, and the last ten years of his life were 
without financial trouble. But they were darkened by sadness. He 
had married a young girl of the Forest, and she became insane. Instead 
of putting her away he kept and tended her, and the strain of work 
and worry undermined his health. The final blow was dealt in 1867, 
when, after his services as head of the International Jury, the accus- 
tomed honor of officership in the Legion was withheld. He penned 
a protest to the Emperor, which was never sent. The proud, strong- 
centred man consumed his wounded pride in silence, but his heart 
was broken. He lingered a little while and died, while his mad wife 
danced and sang beside the bed. The brethren buried him in the little 
churchyard at Chailly on the edge of the Forest, and Millet set an 
unknown stone above the grave, with the brief, but all-sufficient record, 
“ Théodore Rousseau, Peintre.” 


PETER PAUL RUBENS 
1577-1040 


Rubens was born at Siegen, in Westphalia, on the festival of SS. 
Peter and Paul. His parents were natives of Antwerp, but, being 


Protestants, had moved to Cologne to escape the religious disturbances, 
and again, in consequence of some disagreement with the authorities 
in that city, had temporarily settled in Siegen. In 1578 they resettled 
in Cologne, where the father’s death occurred in 1587, after which the 
mother, having embraced the Catholic faith, returned to Antwerp with 
her son. 

Although destined for the law, he showed such a desire to be a 
painter that he was placed with Adam Van Noort, with whom he 
studied four years, afterwards spending another four years under Otho 
Vaenius, the most celebrated painter of the period in Antwerp. In 
1600 he went to Italy and entered the service of Gonzaga, Duke of 
Mantua, devoting much of the time to copying works in Venice and 
Rome for the Duke. 

In 1605 he was sent on a mission to Philip III. of Spain, and during 
his three years’ stay in Madrid was intimate with Velasquez and 
painted many portraits. Hearing of his mother’s illness, he hastened 
home by way of Genoa, to find that she was dead. The Archduke 
Albert, then Governor of the Netherlands, persuaded him to remain 
in Antwerp and appointed him court painter. 

In 1609 Rubens married his first wife, Isabella Brant, and the fol- 
lowing year built himself a magnificent house. This was the period 
in which he painted the masterpieces in Antwerp Cathedral—tlie 
“ Crucifixion” and “The Descent from the Cross.” In 1620 Marie 
de Médicis invited him to Paris, where he painted the great series of 
pictures commemorating her marriage with Henry IV., which are now 
in the Louvre. Returning to Antwerp, he was despatched by the 
Infanta Isabella, widow of the Archduke, in 1628 on a diplomatic mis- 
sion to Philip IV. of Spain, and the following year on a similar errand 
to the court of Charles I. of England, being knighted by both mon- 
archs. His wife having died in 1626, he married in 1630 Helena Four- 
ment, a beautiful girl of sixteen, whose portrait, like that of the former 
wife, appears often in his pictures. Their union lasted ten years, when 
Rubens died, possessed of immense wealth, and was buried with pomp 
in his private chapel in the Church of St. Jacques. 

So vast was his productiveness that between two and three thousand 


pictures are ascribed to him, although many of them were probably 
painted from his sketches by pupils; among the most famous of whom 
were Van Dyck, Jordaens, and Snyders. He himself etched a few 
plates, and established a school of engravers for the reproduction of 
his works, of which twelve hundred prints exist. The choicest ex- 
amples of his brush are to be found in Antwerp and Paris, and, perhaps, 
particularly in the Pinakothek at Munich, which contains ninety-five 
of his works, and among them some of the finest. 


FELIX SCHLESINGER 


Schlesinger was born at Hamburg in 1833. After studying at the 
Diisseldorf Academy and under Jordan he lived for several years in 
Paris, and then settled in Munich, devoting himself to genre subjects. 


MAX SCHODL 


This brilliant painter of still-life was born at Vienna in 1834, and 
became a pupil of its Academy under Friedlander. His skill in the 
precise rendering of beautiful surfaces is remarkable. 


ADOLF SCHREYER 
1828-1899 


Even when Schreyer was a pupil at the Stadel Institute in his native 
city of Frankfort he was studying horses in the riding school and ana- 


tomically. All his life he was a keen lover of horses and dogs, and 
later surrounded himself with them at his estate near Kronberg. After 
leaving the Institute he pursued his studies at Stuttgart, Munich, and 
Diisseldorf. Then he embraced the opportunity to accompany Prince 
Thurn and Taxis in his expedition through Hungary, Wallachia, and 
Southern Russia, and in 1854 accompanied the Austrians on their 
march through the Danubian Principalities. Settling in Paris, he was 
attracted by the work of Fromentin, and made visits to Syria, Egypt, 
and Algiers. Parisians were enthusiastic over his extraordinary gift 
for technique and for his brilliantly effective rendering of life. The 
end of his career was spent either in Paris or at his estate at Kronberg. 


JEAN GUIDO SIGRISTE 


Sigriste was born at Aarau, Switzerland, in 1864. Coming early 
to Paris, he studied with Lefébvre and Boulanger, and had a picture 
hung at the Salon for the first time in 1890. Since then he has been 
favorably known in this country and in Russia, Switzerland, and Ger- 
many for his military subjects. 


HENDRIK SIEMIRADZKI 


Siemiradzki was born at Grodno, Russia, in 1843, and became a 
pupil of the St. Petersburg Academy. Thence he passed to Munich, 
where he studied under Piloty, afterwards travelling in France and 
Germany, and finally, in 1872, settling in Rome. The Medal of Honor 
and Cross of the Legion were conferred upon him in 1878, and he is 
a member of the Academies of St. Petersburg, Stockholm, Berlin, and 
Rome. 


GIUSEPPE SIGNORINI 


The genre painter Giuseppe Signorini is a member of the colony of 
Italian painters in France. 


C. TAMBURINI 


A native of Florence, Tamburini studied under Ciceri and Bonnat, 
and is the holder of many medals of honor at the exhibitions of 
Florence and Rome. He is best known for his pictures of good- 
natured satire on the priesthood. 


AURELIO TIRATELLI 


Tiratelli was born at Rome in 1842. His studies at the Academy 
of St. Luke were first directed towards sculpture, and in this medium 
he won fourteen medals. Then came to him the desire to express him- 
self in color, and he put himself under the teaching of Minardi and 
Podesti in drawing and painting. Although educated under very con- 
servative influences, Tiratelli in his genre and figure subjects has re- 
vealed an individual and progressive spirit. Many of his subjects 
have been found in the vicinity of Rome; he is fond of painting the 
buffaloes of the Campagna and the sports and occupations of the 
peasantry. Occasionally he selects a subject of strikingly modern 


5) 


character, as in the “ Railway Disaster,’ which was purchased by the 


government. One of his pictures, entitled the “ Buffalo Cart in the 


b 


Pontine Marshes,” is in the Civic Museum at Trieste, and several of 
his works were purchased by King Humbert, who created him a Cheva- 


lier of the Order of the Crown of Italy. 


“a 


AUGUSTE ‘TOULMOUCHE 


Toulmouche is identified with piquant subjects of fashionable life, 
which he paints with much accuracy of detail and regard for textures. 
He was born at Nantes in 1829 and became a pupil of Gleyre. Besides 
many medals, he has won the Cross of the Legion. 


CONSTANT TROYON 
1810-1865 


It is Troyon’s distinction that he gave to the landscape and to the 


cattle in his pictures a complete unity of feeling, and that the feeling 


was always one of large and serene expression. Rich herbage covers 
the pastures, sun and shadow and rain cloud contribute to their fecun- 
dity, and the beasts nourished thereon have huge forms, tranquil 
strength, and vigorous color. He painted them as he saw them in 
nature, enveloped in atmosphere and light, and his pictures have the 
rude simplicity and exuberant wholesomeness of true rustic life. 

He was born at Sévres, and as a youth, like Dupré and Diaz, deco- 
rated porcelain. Meanwhile he was painting little classical views, and 
with one of these made his appearance at the Salon in 1833. About 
this time he formed the acquaintance of Rousseau and migrated to the 
Forest of Fontainebleau. Then began those grand and serious studies 
of nature which won him honor before he put the cattle into his 
pictures. For asa landscapist he had a fundamental power unequalled 
except by Rousseau. | 

In 1848 he visited Holland, and there may have been aroused to 
feel how the cattle form a part of their surroundings. Yet his first 
picture upon his return was the famous “ Windmill,” which reveals the 
influence of Rembrandt. But for several years he had been making 
independent studies of cattle, and now commenced to introduce them 


into his landscapes. At forty years old his genius discovers its true 
bent, and he becomes Troyon. Cordt was ten years older when he 
entered into his fulness, and had twenty-five years in which to reap 
the harvest. Troyon had but fifteen all told, and ten years of these 
were clouded with mental trouble. Yet he accomplished enough to 
place him among the master painters of the world. 


JOSEPH MALLORD WILLIAM TURNER 
1775-1851 


Turner’s was indeed a singular personality, compact of contradic- 
tions! Uncouth of person, harsh of manner, he was yet an artist of in- 


_ finite delicacy; though possessed of an extraordinary appreciation of 


the beautiful, he lived a shabby life, a life as narrow as his imagination 
was exalted; intellectual above his fellows, with a mind that fairly 
teemed with grand imaginings, he shut himself off from intercourse 
with other intellects, adopted voluntarily a penurious, unlovely exist- 
ence, and died in disgraceful squalor. In every respect the man was 
the direct antithesis of his art. 

His father was a barber in Maiden Lane, Covent Garden, on the 
walls of whose place of business the child’s early drawings were pinned ; 
for the lad was extraordinarily precocious, and soon was earning 
money by coloring prints and architects’ drawings. His work attracted 
the notice of Dr. Monro, the art patron, who used to pay him half a 
crown apiece for his drawings, and give him his supper when he 
brought them round. At the age of fourteen he became a student of 
the Royal Academy, and the very next year exhibited at Somerset 
House, where the Academy exhibitions were then held, his first paint- 
ing, “ View of the Archbishop’s Palace at Lambeth.” In those days 
little water-color views were much in demand, filling somewhat the 
same position now occupied by photographic views; and Turner trav- 


elled frequently, visiting especially Ramsgate, Margate, and Dover. 
By the time that he was elected an Associate of the Academy, in 1799, 
he had already exhibited works which ranged over twenty-six coun- 
ties of England and Wales. In 1802, the year that he was made a full 
Academician, he paid his first visit to the Continent, travelling through 
France and Switzerland. Italy he visited in 1819, again ten years later, 
and for the last time in 1840. During one of his early wanderings he 
is said to have had a love affair, which terminated unhappily, and he 
never married. When, in 1812, he was able to build himself a house in 
Queen Anne Street, Westminster, he shut himself up with a house- 
keeper, and when he tired of her society, would start again upon his 
travels. On one occasion the woman’s suspicions were aroused, and 
she searched the pockets of a coat he had left behind, discovering a 
letter which suggested that Italy, whither he was supposed to have 
gone, was no farther off than Chelsea. She informed his acquaintances, 
and when they went to seek for him, they found him in an obscure lodg- 
ing, dead. He was buried in the crypt of St. Paul’s Cathedral by the 
side of Sir Joshua Reynolds. He left to the nation all the drawings 
and pictures which he had allowed to accumulate, and his fortune as 
a fund for the assistance of needy artists; but the will was disputed, and 
the bequest of money diverted to other purposes. 

The early part of his career is marked by the abundance and quality : 
of his water-color works, and by oil-paintings founded upon the style 
of Wilson; for he had a curious eagerness to prove himself better 
than other men along their own lines. So, having established his supe- 
riority over native painters, he set himself to rival Claude; published 
the ‘ Liber Studiorum”’ in imitation of the French painter’s “ Liber 
Veritatis,” and painted oil-pictures that should establish his equality 
with that then recognized leader of landscape painters. Of so much 
moment did he deem this comparison, that in his will he inserted a 
clause directing that two of his pictures should be hung alongside of 
one of Claude’s in the National Gallery. The period of his ripest art 
is generally placed between the years 1802 and 1830, though Ruskin 
considered it to have been the ten years between 1829 and 1839, which 
began with the “ Ulysses” and ended with the “ Téméraire”’; an esti- 


mate with which many other critics will be disposed to agree. During 
the last twenty years of his life he was chiefly occupied with the render- 
ing of light and of the elemental forces of nature, sacrificing form to 
color, and departing as widely as possible from the serenity and stateli- 
ness of Claude. Many of these later pictures have suffered by time, 
but even in their ruin bespeak the mighty qualities of this mind which 
had anticipated by nearly a century the motives of the modern impres- 
sionists. ‘‘ He is the greatest creator in color, the boldest poet among 
the landscape painters of all times,” 


TIZIANO. VECELLI 
1477-1756 


Tiziano Vecelli, son of Gregorio dei Conti Vecellio by his wife 
Lucia, was born at Pieve di Cadore in the Southern Tyrol, then be- 
longing to the Republic of Venice. The family was of ancient and 
honorable lineage, bearing the name of Guecello or Vecelli, long estab- 
lished in the Valley of Cadore. 

At the age of nine Titian was sent to live with an uncle, a lawyer, 
in Venice and commenced to study art. His first teacher seems to 
have been Zuccato, a worker in mosaic, from whom he passed, perhaps, 
to Gentile Bellini, and, certainly, to the latter’s younger brother, Gio- 
vanni, afterwards studying with Giorgione and being associated with 
him in joint commissions. The two young men were of the same age, 
but Giorgione’s genius had matured early and its influence was already 
firmly imprinted upon Venetian art. Titian, on the other hand, seems 
to have matured more gradually, and it was not until he was nearing 
his thirtieth year that he reaches the perfection of his craftsmanship. 
To the years between 1507 and 1514 may be referred such works of 
infinite beauty and poetic feeling as the “Tribute Money” of the 
Dresden Gallery and the “ Sacred and Profane Love” in the Borghese 


Palace at Rome; and during this period was painted the portrait of 
Grimani in the present collection. Giorgione had died in 1511, and 
the death of the aged Giovanni Bellini in 1516 left Titian the undis- 
puted leader of Venetian painting. He completed Giovanni's work in 
the Sala del Gran Consiglio, and was rewarded by the Senate with the 
office of La Senseria, which involved the painting of a portrait of each 
doge elected during his term of office. 

Meanwhile he had attracted the notice of Alfonso I., Duke of Fer- 
rara, for whom he executed the “‘ Bacchus and Ariadne” of the Na- 
tional Gallery and the “ Sacrifice to the Goddess of Festivity ”’ and the 
“ Bacchanal ” in the Gallery of Madrid. His style was becoming more 
grandiose and superb in color, as may be seen in the great altar-piece 
for the Church of the Frari, the “ Assumption of the Virgin,” now in 
the Venice Academy. In 1528 he painted the great picture of “ St. 
Peter Martyr ” (destroyed by fire in 1867), and in 1530 was invited to 
Bologna by the Emperor Charles V., whose portrait he painted on this 
occasion, and again two years later. In 1543 he painted a portrait 
of Pope Paul III., during a visit the latter paid to Bologna, and another 
during 1545 in Rome, where the two giants met for the first time, 
Michael Angelo being then seventy-seven and Titian himself only three 
years younger. Upon the abdication of Charles V., Titian found as 
great a patron in his son, Philip II., who granted him a pension. 

This period of Titian’s career, dating from about his fiftieth year, 
is marked by a series of superb portraits and splendid nudes. In 1531, 
after the death of his wife, he moved out of Venice to a beautiful villa 
at Biri Grande, overlooking the Lagoons, where his strenuous labors 
were accompanied by sumptuous elegance of living and intimacy with 
the greatest men of his day. In the last thirty years of his life magnifi- 
cent sacred pictures, as the “ Christ Crowned with Thorns” at Munich 
and the “ Presentation of the Virgin” in the Venice Academy, are 
interspersed with classical subjects. He continues to paint portraits, 
among them often that of his daughter Lavinia; and near the end of 
his career produces the “ Nymph and the Shepherd” of the Vienna 
Gallery, in which he returns to the freshness of inspiration revealed 
in the “ Three Ages,” painted nearly seventy years before. 


St is De Ne it tN pl yt 


Finally he prepares for his end, and commences the “ Pieta,” that 
was to secure for him a burial place in the Church of the Frari. But . 
he never finished it, for some misunderstanding arose with the monks, 
and it was completed after his death by Palma Giovine. It hangs in 
the Academy of Venice, but Titian’s body rests where he had desired. 
When the terrible plague that swept away 190,000 people in Venice 
reached the great master in his retreat at Biri, on the threshold of his 
hundredth year, the Venetians forgot even the dread of contagion and 
gave him ceremonial burial, 


EUGENE JOSEPH VERBOECKHOVEN 
1799-1881 


Born at Warneton, West Flanders, Eugéne was the son and pupil 
of the sculptor Barthélémi Verboeckhoven. After visiting England, 
Germany, France, and Italy he settled in Brussels. His reputation 
during his life was remarkable. He was elected a member of various 
academies, and received the Cross of the Legion and several European 
orders. He was a correct draughtsman, whose precise and hard man- 
ner reflects, no doubt, the influence of his early training under a 
sculptor. 


_ JEHAN GEORGES VIBERT 


Vibert is in every sense a Parisian. He was a pupil of Félix Bar- 
rias, but his early attempts at historical subjects were a failure, and he 
accepted the lesson, turning to a class of pictures more in line with 
his own temperament. A wit and satirist, admirable raconteur, and 
skilful with his pen, having produced among other writings a success- 


ful play, he devoted himself to character genre with a spice of humor- 
ous satire. These pictures were at once successful and have brought 
him many honors, culminating in promotion to the rank of officer in 
the Legion of Honor in 1882. 


DOUGLAS VOLK, N.A. 


The son of a sculptor, Douglas Volk was born at Pittsfield, Massa- 
chusetts, in 1856. He studied at the Ecole des Beaux Arts under 
Géréme and also spent some time in Rome, appearing at the Salon 
for the first time with a Breton subject in 1876. He exhibited for 
several years at the Salon before returning to the United States to 
organize and direct the Art Academy at Minneapolis. After spending 
eight years in that city he moved to New York, where he has exhibited 
regularly at the exhibitions, besides teaching at one of the art schools. 
In his country home, where he spends his summers, he has, in con- 
junction with Mrs. Volk, established a village industry: engaged in the 
hand-making of rugs, which produces some exceedingly beautiful work 
of good design and honest craftsmanship. Mr. Volk’s first success 
at the New York exhibitions was with “ A Puritan Maiden,” and many 
pictures of pure, sweet maidenhood have followed it. 


JULES WORMS 


A Parisian by birth, Jules Worms was a pupil of the Ecole des 
Beaux Arts and of De Lafosse, and has travelled in various countries, 
particularly in Spain. He gained medals in the Salon from 1867-1869, 
was made a Chevalier of the Legion of Honor in 1876, and obtained 
medals at the International Expositions of 1878 and 1889. 


ERNST ZIMMERMANN 


Born at Munich in 1852, Ernst Zimmermann studied first with his 
father, Reinhard Sebastian, and later with Anschtitz and Wilhelm Diez, 
afterwards travelling in Venice, Paris, and Vienna. He has painted 
biblical subjects, but is best known for historical and genre works, dis- 
tinguished by fine color. 


FIRST EVENING’S SALE 


TUESDAY, APRIL FIRST 


AT MENDELSSOHN HALL 


. FORTIETH STREET, EAST OF BROADWAY 
a e. 


a a Os at ee 
BEGINNING PROMPTLY AT 8.30 O'CLOCK 


WILLIAM ADOLPHE BOUGUEREAU 


1— Asleep 4 ¥ kad oR hte 


Gees Coe. Pencil Drawing 


Two little bare-limbed children are asleep upon a bed, the one 
whose back is towards us having its right arm laid over the breast 
of the other one. 


Signed at the left, Wm. Bouguereau. 
Height, 5% inches; length, 814 inches. 


H4¢ 


Cc. C. COLEMAN 


¢ 2—Landscape | dial cnde Lyre 


A wagon with high frame sides, drawn by four black oxen, is 
approaching along a road between grassy banks. The bank on the 
left gradually slopes up with bushy trees at the top, that are continued 
back and across the picture. 


° ee at the right, C. C. Coleman, Maccarice /81. 
g.° 4M 7 


= ~ oe 3&5 


» : seta Hei ; : se 
ght, 7 inches; length, agp ches. 


3 
Qe#=> 
“SF 2 wat 3” @e 2 


Cc. RAUCH 


3—T he Letter Writer 
<4 a} ai ” 


Water Color 
ee rag Tbs 


The letter writer, sitting’ in a handsome carved chair with leather 


back, poises his quill pen in the air as he looks across the table to 
his client, a Neapolitan peasant-girl. 


Near her sits another woman, 
behind whose chair stands a boy. 


Signed atzthe right, C. Rauch. 


Height, 9% inches; length, 1014 inches. 


Se Le 


Cc. C. COLEMAN 


4—The Sheep Fold 


Water Color I. G, byunther 
, “4 


A shepherd is folding his sheep in an énclosuré formed by poles and 
netting. In the background appears a yellow thatched shed and 
beyond it one with a conical brown roof, surmounted by a cross. A 
red coat and a stick lie on the ground near the man’s feet and close 
by him his dog. 


Signed at the right, C.C. Coleman, Roma. 


Height, 9% inches; length, 13 inches. 


CLARKSON DYE 


5—Street Scene: Winter 
J ‘ (Jor Sages Water Color 


Along the snow-covered sidewalk on the left hand of the street a 
lady is coming towards us, passing in front of a row of dull red houses, 
while in the distance a cab is moving towards a building with a tower 
that concludes the vista. Bare trees stand along the right of the 
road, behind which is a range of red warehouses. 


Signed at the right, Clarkson Dye /93. 


Height, 10 inches; length, 13 inches. 


ALEXANDRE DECAMPS 


59: 


6—A Mountain Gorge Jt At. SEc¢ SOW 


Pastel 


The scene is a wild mountain region cloven into gorges, walled 
with bare rock. A sort of natural causeway, covered with grass, 
stretches diagonally towards the centre, and at the end of it a Greek 
soldier with helmet, round shield and spear, stands upon the brink of an 
incline, down which other soldiers are disappearing. 


Signed at the right, D. C. /46. 
Height, 10 inches; length, 16 inches. 


ers 


> 4 
EE ee ee ee 


L. WOODWARD 


7—Arch Creek, Florida 


“a . Stile " Water Color 


The winding reach of water disappears on the right of the back- 
ground. It is bordered with pale green foliage, interspersed with 
trees from which hangs bearded moss, while others on the right of the 
picture dip their branches into the water. A single white bird appears 


in the sunlit distance. 


Signed at the left, L. Woodward. 
Height, 12 inches; length, 17 inches. 


ned, 


MARCUCCI 


4 : 8—An Italian Peasant Girl 
> =“ 


a 0 Chor 
ake big GS : 
Water Color ie a/, iL fi 44 A? - 


- 


2 


Near a bunch of thistles and some reedy grass entwined with strag- 
gling grapevine stands a peasant girl, looking away from us and hold- 
ing a sheaf of corn-stalks in her arms. Her costume consists of a gray 
chemise, dark blue corset, and dull rose skirt tucked up over a blue 
petticoat. 


Signed at the right, Marcucci, Roma. 
Height, 14 inches; width, 7% inches. 


AFTER BESNARD 
g—Nude 


Pastel 


This is the study of a nude woman sitting in crouching attitude 
upon a white drapery, with her head bent over a purple and gray cup. 
The figure is lighted fom the left by a warm glow, which touches the 
prominences of the flesh with rose. 


MARCUGGI | age : 
£ ‘ Z 
; 4 if | 


10o—Italian Shepherd Boy 


Water Color 


An Italian shepherd boy in green breeches, with a golden brown 
jacket slung over his shoulder, leans upon a fence with his back to us, 


looking towards a horizon, rose and saffron in the twilight glow. 


Signed at the right, Marcucci, Roma. 
Height, 14 inches; width, 7% inches. 


GIUSEPPE SIGNORINI 


11—The Convivial Cardinals fs 
i“ al 


Water Color 


Two cardinals are sitting on opposite sides of a pedestal table with 
carved and gilded support, covered with a pale blue satin cloth. One 
of them leans back, looking out of the corner of his eye at a wine- 
glass which he holds up, while the other leans forward with a bottle 
in his hand. Behind them a supercilious flunkey is walking away 
with a tray. Bog 


Signed at the right, Giusep Signorini, Paris /81 
Height, 18 inches; width, 14 inches. 


8 


L. WOODWARD 


12—Ocklawaha Landing, Florida 


Water Color le. 7 uy i fine 


Enclosed with trees and strewn with beds of lilies, spreads an 
expanse of water, out of which rise high trees with a little foliage at 
the top, bearded moss hanging from their limbs. On the right of 
the middle distance stands a little house on wooden piers, beside which 
a boat is moored. 


Signed at the left, L. Woodward. 
Height, 10% inches; length, 16% inches. 


UNKNOWN 


Z Pastel 


There is a dull gray cloud over the horizon. Two brigantines 
are riding on the green sea which flows to the front of the picture in 
small, smooth, sliding waves, breaking into foam as they reach the 
stone-strewn, sandy shore. Above the latter rises a wall of purplish 
brown rocks with dark green brush on the summit. 


Height, 16 inches; length, 22 inches. 


36 


KINNARD 


Crossed by a plank bridge in the middle distance, a bee flows | 
towards the foreground, where it is bordered by bulrushes, flowers, = 
ae and large dock-leaves. In the field are wheat shocks and standing ; 
a wheat, among which are figures, and in the distance appears a red- 
roofed farmhouse among some trees. _ a) Ls 


3 Signed at the right, Henry Kinnard. 
i _ Height, 20 inches; width, 15 inches. 


~ 


oe 


_ SALOMON CORRODI : 


“avenue stretches straight back, bordered on both sides by 
sycamores. Those on the left grow upon a small bank from 


wagon approaches. To the right appear an orchard and distant land- | 
; tay oe 


& S | ead 
cadieiaaaens ea de nea 


aa i) ja 


- Signed at the left, S. Corrodi, Roma. 


Height, 20 inches; length, 28 inches. 


JEAN JACQUES HENNER 


16—Head of a Girl 


C4 td fre 


A girl’s head is seen in profile against an olive brown background. 
Her brown hair grows in profusion over the forehead, the brown eyes 
are looking upwards, and ripe red lips stain the pure white of the 
features. Her shoulders and bosom show above a geranium-colored 
drapery. 


Signed at the upper right, Henner. 
Height, 18 inches; width, 15 inches. 


Henner takes his place in the latter half of the nineteenth century 
as, perhaps, the most poetic painter of the nude and one of the most 
individual and fascinating delineators of girlish beauty. 


te 


i cn re ly 


- Water Color 


ner “the gorge! elow. Raised upon ihe right isa road, along which a horse- 
‘man oe the shadow of the rocks is passing towards a spot of sun- 


par 


Los where a goatherd and his flock are standing. | ' am ; 


Signed at the right, Sal. Corrodi, Tivoli, 1880. . 
a Hstent, 20% inches; length, 28% one ag 


18—Landscape and Cottages ) 


VICTOR DUPRE 


Standing in a large meadow, dotted with cows, is a white cottage 
with a red chimney and a dormer window in its high drab-green 
thatched roof. To its left rises a clump of trees, sheltering another 
cottage, near which stands a woman in blue gown with white cap and 
apron. In the foreground of rich grass is a pool with sedge and scrub 
upon its bank. A dark gray cloud fills the sky on the right side, 
loosening into white masses towards the centre, above which is an 
expanse of greenish blue. On the horizon is a deep blue hill. 


Signed at the left, Victor Dupré. 
Height, 174 inches ; length, 28% inches. 


Had Victor Dupré not been the younger brother of the more 


famous Jules, the recognition of his own powers would have been more 


pronounced. Yet he was a fine technician, with a noble use of color, 
who infused into his work a quality of very sincere poetry. 


s 


ROSA BONHEUR 


xote Escorted Home 


Drawing in Crayons 


(oe £- F 

The Knigh of La Mancha, after his severe drubbing by the mer- 
t’s boy, is being assisted home by a countryman. His long body 
a eated ae a donkey, drooping over the sacks on the latter’s 
eck, while, his left hand rests on the shoulder of the countryman, 


ho is leading Rozinante and carrying the spear. The donkey’s head- 


1ounted by a blue tuft. 


af Signed at the left, Rosa Bonheur, 1888. 
Height, 3914 inches ; width, 37 inches. 


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ANTONIO CASANOVA Y ESTORACH 
20—An Uncanonical Courtship 


A jolly Carthusian brother in white habit and black cloak smiles at 
4 Spanish lady, who sits beside him coquettishly holding a fan between 
her face and his. A white mantilla is suspended from the tortoise-shell 
comb in her hair. Against the leafy background hangs a little bird- 
cage. 


Signed at the right, Antonio Casanova y Estorach, Paris, 1882. 
Height, 1534 inches; width, 12% inches. 


Casanova is widely known for his pleasant satires on the priest- 
hood, full of genial humor. 


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approach, that connects with a flat-arched metal span. Under this 
water flows into an inner harbor, surrounded on three sides with 


a. houses, aoe the centre ones appearing a high dome with cupola. On 
each side of the harbor, trees are growing in front of the houses. 


-” 


La at the left, S. Lépine. 
Height, 12% inches; length, 18 inches. 


Peer ie: well known for his river and harbor scenes, is one of the 

Brack distinguished of the modern French landscape painters. The 

subject of this particular picture was a favorite one with him and he 
has painted it several times. 


a 


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ee ee ee are ce eae a 


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PIO JORIS 


22—-A Meeting on the Tivoli Road 


A bare-legged man in blue clothes leans on a ledge of stone beneath 
a high rock hung with greenery, holding out his right hand to a woman 
who stands beside him. She is clad in a brown skirt and pink bodice, 


and on the ground near her is a basket of linen. 


Signed at the right, P. Joris, Roma. 
| Height, 15 inches; width, 9 inches. 


Joris gained the Gold Medal at the recent Exposition in Paris. . 


2 ee 


ALEXANDRE CABANEL 


23—Study of Female Figure 


— 2 ad 
wa Shur 
i. ‘ne ‘ a ie 


This is a study from the nude of a woman in upright pose with her 
head thrown back and the auburn hair falling in a stream behind. Her 
left arm is held across her eyes and the right hangs down limply with 
the fingers curled towards the palm. 

Signed at the left, Alex. Cabanel. Dedicated—‘‘ 4 mon cher ami, Alfred Araya.” 


Height, 17 inches; width, ro inches. 


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GABRIEL MAX 


24—-A Fair Maiden q Mi hav- j 
J ioe 


A fair-haired girl, with soft gray eyes that have brown pupils, stands 
facing to the right, inclining her head slightly towards her shoulder. 
Her hand is laid over her bosom, that is lightly covered with gray 
gauze, below which appears a glimpse of crimson cloak with a gold 
clasp. 


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hee es A eee 


Signed at the left, G. Max. 
Height, 18% inches; width, 15 inches. 


Gabriel Max gives to his soft and lovely girlish heads a remarkably 
tender sentiment and a kind of mystical spirituality. 


Pe a a I en ee ey eS 


FRANZ DEFREGGER 


- A young girl sitting by a hearth ie / in her editing to answer 


with a smile the laughing advances of her admirer. He has a pipe in 
his hand and sits near a square cupboard in the wall. 


c te _ Signed at he left, F. Defregger, 1888. 
| - Height, 15 inches; width, 11 inches. 


- 


From 1869 Defregger's art was almost entirely devoted to the Tyrolese people. 
To ee the smart ts and neat lasses of Pe in joy and sorrow, love sae nate at 


beauty, Baik: and soundness, was the life-long taste for which he more than any 
re other 1 man had been created—for he belonged to them himself.—MUTHER. 


ee 


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J. EHRENTRAUT 


26—A Halberdier Saluting iy ba fi : 


In a corridor, hung with a blue curtain and lined above the brown 
wainscot with old-gold leather, patterned in red, stands a halberdier 
with hand raised to the curled brim of his black hat. His uniform 
consists of crimson breeches and a mustard-colored jerkin with white 
ruff, a blue sash being fastened on the left shoulder and passing across 
his chest. 


Signed at the left, J. Ehrentraut. 
Height, 14 inches; width, 9% inches. 


ee ee 


_ LEON BONNAT 


Height, 13% inches; width, 8% inches. 
3onnat, during his residence in Italy from 1858 to 1860, painted a 
y of subjects from the life of the Roman people. He has proved 
ae nself one of the most masculine painters of the century, possessed 
‘a “of learning which never ie itself in unnecessary detail. 


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A C. TAMBURINI 


28—Monk Chanting 


The light streams down upon a Carthusian monk, in white habit 
and black cloak, as he stands before a heavy wooden lectern, on which 
rests a large book with clasps. With is left hand marking the rhythm, 
he chants the office. 


Signed at the upper right, C. Tamburini. 


Height, 12 inches; width, to inches. 


_ ERNST ZIMMERMANN 


eee tome, turning the leaves with his white, delicate fingers. 
oe the us ue a Ste ee bound in buff calf with red ES 


* gned at the upper left, E. Zimmermann, Miinchen, 1880. 
vy 4 amirlone Settle aa : Height, 15 inches; width, 12 inches. 


| 


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ALPHONSE DE NEUVILLE 


Apr * 


30—The Halt 


A chasseur in dark blue uniform and white gaiters, with knapsack 
on his back, leans upon his rifle. At a little distance behind him the 
company stands at ease, and the officer on a gray horse is talking to 
another who stands before him. | 


Signed at the right, A. de Neuville, 1884, and dedicated “ A mon fidéle chasseur 
Ardelain.” : 


Height, 19% inches; width, 15 inches. 


i De Neuville had looked on war as an officer during the siege of 
| Paris, and his pictures show an intimate sympathy with the soldier on 
i active service. 


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es: priest in black cassock and red skull-cap sits before a table 
o “covered with various objects, among which is a document with a red 
orig He is examining a pyx, which he poises delicately in his hands, 

ile beside him stands a brother of the order in white habit and black 


cap, who holds a shrine-like cabinet with blue enamelled sides and 


7 TE NaS PNT ere 


i: - edges rimmed with brass. 


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os | Signed at t the feft,-Th. tee Miinchen. 
Height, 21 inches; width, 15 inches. 


4s 


HELEN LE ROY D’ETIOLLES 


32—Head of “wm fe Man 4 feck. 
ef * 


A large, dark hat frames the face, which has ruddy, boldly modelled 
features with a reddish mustache and beard, the eyes being wrinkled 
and the cheeks drawn back in a pleasant smile. A white collar falls 
over the brown jacket. 


Signed at the right, H. Le Roy d’Etiolles. 


Height, 21 inches; width, 17 inches. 


ce. ADOLPHE ALEXANDRE LESREL 


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ak eside a ae carved oak chest. The latter wears a yellow tunic with ‘ 
purple sleeves and a sash of a lighter tone of the same color and holds y 
a | gray felt hat. A trumpet lies upon the floor and on fhe wall hang a : 4 

n os gud breastplate. 


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"Height, 21% inches; width, 18 inches. 


== 


| (Vv EDOUARD DETAILLE 


34—Officer Ordering an Advance hz f 
f in  ¢ : 
. An officer on a bay horse holds his sword stretched A at arm’s 
length as he directs the advance of a company of troopers, who in a 
line behind him are breaking into a gallop. Between them is a brook 


\ with rushes and reeds, and the officer’s horse is just about to step on 
— to a road in the right of the picture. 


| Signed at the left, Edouard Detaille, 1886. 
i Height, 22 inches; width, 16 inches. 


i Detaille, who was Meissonier’s favorite pupil, is an accomplished 
| draughtsman with an extraordinary skill in rendering action of the 
| most varied kind. The campaign of 1870 gave him an experience of 
war, and he depicts the soldier upon the field with a sincerity of knowl- 
edge and dexterity of touch that render him the foremost military 
painter of the day. 


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DOUGLAS VOLK, N.A. 


The young girl’s head with yellow-brown hair and ripe flesh tones 
is in profile, while her bosom fronts us, veiled by a red gauze drapery. 


35—The Model 


Signed at the right, Douglas Volk. 
Height, 20 inches; width, 16 inches. 


Douglas Volk’s studies of young girls, often in Puritan costume 
and placed among pine trees, are distinguished by a very delicate ten- 
derness of sentiment, sweet and pensive. 


A 1k 


36—The New Scholar 7) : A 


The scene is an old-fashioned dame-school, and the teacher has 
come down from her desk in the corner of the room to welcome a little 
child who stands in front of her mother. Peeping round from behind 
the latter is a boy with his books over his shoulder held by a strap. 
The children scattered over the benches take advantage of the inter- 
ruption to their studies, and one boy is touching the strings of a guitar 
that hangs on the wall. | 


Signed at the right, F. Schlesinger. 
Height, 16 inches; length, 27 inches. 


AURELIO TIRATELLI 


The grassy drying-ground stretches back with a vista of fluttering 
lines of linen bordered by small trees, beneath which clothes are spread 
upon the ground and figures of women appear. Approaching in the 
foreground are two handsome girls, one supporting a basket on her 
hip, the other carrying hers on her head, and to the right of them 
walks a woman with a baby. 


37— Washerwomen : Rome 4 


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Signed at the left, Tiratelli, Roma, 1880. 
Height, 15 inches; length, 29 inches. 


Tiratelli is one of the notable figures in the modern revival of 
Italian art, a painter of strong individuality. 


Vy : JAN H. B. KOEKKOEK 


38—Coast and Marine Ie fh 
| aii Lemt oa 


A flat shore, scattered with pools and bowlders, runs back to a high, 
sloping rock in the distance, crowned with a building. Nearer to the 
i foreground a two-masted brig has been beached, and a cart with two 
horses is drawn alongside of it. Still nearer to the front some fisher- 
men are pushing a boat into the water and a man with nets stands 
beside a stooping figure. Out on the greenish-yellow sea appear two 
sailboats and a brig at anchor. A line of slaty coast stretches across 
the horizon and a large white cloud hangs amid smaller ones in the 


greenish-blue sky. 


{ Signed at the right, Jan H. B. Koekkoek, 1889. 
Height, 16% inches; length, 25% inches. 


: a aes 


Fae 


; f 
‘MLLE. Mg -RAMSAY- LAMONT | 


Pitts the cid i is Penecen by a farm road, which curves towards 
ntre of the picture, disappearing amid a patch of yellow wheat. 


he e background i is a grove of trees, and more distantly a stack. 


aned at the ats L. Ramsay- Lamont. 


Height, 18 inches; length, 2114 inches. 


a. F JEHAN GEORGES VIBERT 

| 
ee a 

40—Absent Minded / ( H 4 : af: a, 
Ae es 


| 

An ecclesiastic in red cassock sits fishing upon a little wooden plat- 
form that juts into the pond and is spread over with a rug. He is so 
: engrossed in landing a catch that he fails to notice that the net at the 
H other end of his rod has upset the creel of fish which he has caught 
: already. Beyond the water with its lilies and weeds is a wooded lawn, 
| on which stands a sculptured group representing a Greek warrior slay- 
: ing a prostrate foe. 


Signed at the right, J. G. Vibert. 
ii Height, 17% inches; length, 21 inches. 


Vibert’s popularity was early established upon his satirical subjects 
of monks and ecclesiastics. The satire never passes beyond the limits 
of good nature, and the execution is always skilful and vivacious. 


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mn S a of ih lies an open eri case with strings of pearls hanging 
ee pf out of it. She is pressing to her lips a locket containing a miniature. 


. fe. - Behind her is a screen of tapestry, framed in gold. 


| oe . fs ss > 26 inches; width, 17% inches. 
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ANTON MAUVE 
42—A Holland hee ib o if We: 
Along a Say, toad between almost bare trees, bordered on each 
side by bright grass meadow, a cart is approaching, drawn by two 


pale yellow oxen in charge of a man in blue; overhead is a gray sky 
full of breeze and moisture. | 


Signed at the right, A. Mauve. : 
Height, 23 inches; length, 27 inches. 


A master of tender harmonies, Mauve interprets nature in a minor ae 
key. He gathers poetic suggestion from the gray days; a poetry re- 
served and melancholy, yet fresh and pure with the vigor of breezy 
sky and moist, wholesome earth. 


ae A party of other is eyorned around the grated entrance of an 
arch d doorway, which is set back in a recess of the wall surrounded by 
i ee. ee pone of masonry. Three of SWE are sitting 


ed at the left, St. Chlebowski. 


Height, 26 ee width, 20 ) inches. 


Lb lira) fary i/) bo Lo kch 
31/880 fat Lx 


JEAN LEON GEROME 


44——A Morocco Beauty i 


The carved woodwork of an Oriental window frames the lady, 
whose ample charms above her rose-colored petticoat are revealed 
beneath a tight-fitting bodice of black gauze, with a small yellow jacket 
across her shoulders. <A green, transparent veil covers her head. 


Signed at the left, J. L. Géréme. 
Height, 22 inches; width, 18 inches, 


Gérome is a learned draughtsman, rendering the form with dis- 
passionate, calculating, impeccable accuracy. The play of light upon 
human flesh, the palpitation of the living tissue, eludes his observation, 
so that this device of veiling the figure, piquant in itself, is a screen to 


his limitations. 


<i bieeats ie 


PAUL WANG TS 


| ee : A blade 


Pio: the edge of some tall grass sprinkled with white and yellow 

Gad a girl stands with a sheaf of grass at her feet. A light red ker- 
a “chief is bound around her bronzed face; she wears a white, woolly 
_ “smock girded re a blue sash, and a short white cloak hangs down her 
back, fastened at the corners on her shoulders. Farther back in the 
_ landscape another girl stands amid the grass, and coming down a slope 
a on the right is a distant figure with a bundle on her head. 


a 
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"Signed at the right, Paul Lazerges, 1888. _ 
Height, 25 inches; width, 19 inches. 


| Dae 


ae | MADRAZO 


46—A Love cite e oe 
Edad 


In a garden, seated below the high pedestal of a statue, a lady is 
listening to the song of a lover, who rests his foot on the rung of a 
chair to support his guitar, as he stands gazing into her face. A dove- 
colored satin cloak lined with primrose is slung over his left shoulder 
and his companion’s costume consists of a pink Pompadour robe, fast- 
ened low upon the breast and falling in voluminous folds on each side 
of a pearly-gray skirt. 


Signed at the right, R. Madrazo. ; 
Height, 29% inches; width, 25 inches. 


Madrazo remains of the brilliant group of Spanish-French painters 
which included Fortuny and Zamacois. His skill is revealed particu- 
larly in his exquisite rendering of delicately sumptuous fabrics. 


ry a 
=: 
ove: 


Height, 28 geet width, 21% inches! 


LUDWIG KNAUS 


48—A Gypsy Mother yA 


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as 


In a leafy spot a eypsy woman sits with her baby at her breast. 
Her bare feet show below a dull green dress and a red drapery lies 
across her lap. : 


Signed at the left, L. Knaus, 1886. 
Height, 30 inches; width, 23 inches. 


“ Knaus has the ability,’ wrote Edmond About in 1855, “ of satis- 
fying everyone. The most incompetent eyes are attracted by his pic- 
tures, because they tell pleasant anecdotes; but they likewise fascinate 
the most jaded by perfect execution of detail.” 


v0 001 light from the left pervades the interior, ener ine on objects 
of polished brass and softly illumining the fresh and dainty costumes of. 
5 ae two women. The younger, in a creamy-white gown, stands with her 
aes : “hand upon a brass tap in the wall, from which she is filling her brass 
el ay water bucket, gazing meanwhile at the other woman, who sits with 
her back towards us, the ends of her lawn cape falling over the back 
_ of the chair. Another brass bucket is held in the girl’s left hand, and 

above the tap hang a brass strainer and ladle. 


Signed at the left, Bail, Joseph. 
i Height, 28 inches; width, 23 inches. 


Joseph Bail has unusual skill in the delineation of textures and in 
o the rendering of softly lighted atmosphere, and secures a tone in his 
wy pictures that is at once piquant and refined. 


MAGNUS V. BAGGE 


50—The Engadine y if # 


From an elevation we look down upon the Alpine valley with its 
stretches of velvet grass and pleasant animation of white houses and 
little church. On its left the pine forest slopes down to it, while on 
the farther side it is separated by a gorge from the neighboring moun- 
tains. Pine forests again clothe the base of these, and their remoter 
peaks are covered with snow. 


Signed at the right, Mg. V. Bagge, 1874. ; 
Height, 24 inches; length, 37 inches. 


wild bit of plain with rocks and thistles, near a pool of water, 
ae a drab bull are engaged in furious combat. Overhead iss 


oe 


ee Signed at see oe A. Tiratelli, Roma, 1889. 
a ‘gees 


Height, 27 inches; length, 33 inches. 


JEAN BAPTISTE CAMILLE COROT 


52——Castle and Forest, BUY 
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gre 


The outer wall and towers of a castle crown a small hill that rises 
on the far side of a sheet of water. To the left of the latter a ferry- 
boat lies end on to the bank and a woman sits in it, whose basket a 
man, standing on the ground with his hand against a tree, is lifting out 
for her. Near him a path winds through the tangle of rich grass 
between birch trees. Another building appears on the slope below 
the castle, and there are hills beyond with a warm, vapory horizon. 
Wreaths of gray clouds float in the pale blue sky. 


Signed at the left, Corét. 
Height, 29 inches; length, 42 inches. 


ge UNGER 


| - neath a group of oak trees, two cows, a red one ia a white one, are 
_ approaching to drink. Farther back is a stretch of gray, hummocky 
Page bounded by. an irregular line of willow trees, which are out- 
lined against a warm horizon, passing above to. faint blue. 


| os Signed at the left, Gilbert Munger. 
we Height, 28% inches; length, 36 inches. 


| 
} 
; 
| 


A white cart-horse of the Normandy breed, with a halter on his 
clever little head, stands sideways before a gray wall, facing to the right. — 
A tuft of straw decorates his tail and mane and over his back hangs 
a folded drab cloth with barred lines of blue and a brown border. 


Signed at the right, Rosa Bonheur, 1866. 
Height, 28 inches; length, 37 inches. 


* oy 
Rosa Bonheur’s pictures reveal “great anatomical knowledge, 
dexterous technique, and charmingly seductive coloring.” 


ac i 


ADRIEN LOUIS DEMONT So 
- SEO 


55—Sunset on the Coast at a 
fs Sspust™ a fe ‘ oa 
he Fae tO eget? 


Along the sand-dunes, growing drab in the gathering shadows, two 
figures are hurrying. Beyond them two boats are drawn up on the 
edge of the water, and farther to the right are two more in the shallow 
surf. The sea is greenish blue in the hollows, tinged with rose on its 
surface, and flashing with drips of deeper rose as it reflects the crimson 
glow of the sun, which sinks through vapor into a bed of dull dove- 
color. Higher up are diagonal strata of rose and creamy clouds, 
mounting to cooler blue and white at the zenith. 

Signed at the left, Adrien Demont. 

Height, 28 inches; length, 4414 inches. 


Since he gained a third class medal in 1879 Demont has received 
many honors, terminating in a gold medal at the recent Exposition 


in Paris. 


é 


<~ 


JOSEPH BAIL 


56—Marmiton avec Son Chie 


ann 


A boy in white apron and scarlet jersey, black-patched on the elbow, 
sits before a chopping block, on which rests a brass pan on a trivet. 
He is brandishing his white cap at a drab-colored mastiff, as if to keep 
it at a distance. Behind the boy on a wooden cupboard crouches a 
cat with glaring green eyes. Among the articles on the floor are 
a polished brass lid, two ladles, and a bottle. 


Signed at the left, Bail, Joseph. 
Height, 2812 inches; length, 39 inches, 


This clever painter of still-life and genre gained a silver medal at 
nag the Universal Exposition of 1889. 
j 


JULES DUPRE 


57—Sunset 


There is menace in the sunset, dull smoky clouds and a sun sink- 
ing red in pale purple haze. Gloom enshrouds the meadow, which is 
harshly cut into by the windings of a reedy stream. Dimly visible 
in the middle distance are a shepherd and his flock; a line of hedge with 
trees at intervals stretches acrgss the picture and beyond it low hills lie 
on the horizon, . 


; t gf ii 
Signed at the right, Jules Dupré. 


Height, 2814 inches; length, 36 inches. 


Dupré rarely missed his evening walk and the sunset hour was the 
one most in tune with his passionate, romantic nature. He rejoiced in 
the commotion of the sky, in the wild solitude of the landscape, revel- 
ling in the contrast of glowing red and darkest shadows. Victor Hugo 
is his literary counterpart. 


CONSTANT TROY 


58—Cow and Dog Ws ae 


Facing to the leffjin front of a background of dull foliage, stands 
a black cow with whjte markings above the tail, on the chest and 
belly, and on the front fetlocks. To its right a little in advance is a ~ 
white and tan dog. . 


Signed at the right, Vente Troyon. 
Height, 25% inches; length, 35 inches. 


“Troyon’s works for a long time,” writes Muther, “ were held by 
amateurs to be wanting in finish. They did not acknowledge to them- 
selves that ‘finish’ in artistic creations is, after all, only a work of 


patience, rather industrial than artistic, and at bottom invented for 
Hi the purpose of enticing half-trained connoisseurs.” No painter of 


with their strong color and ponderous outlines, as he has done. 


an A : . 

Hi cattle has ever seized the significance of these heavy masses of flesh, 
\} 

| 

mi “Troyon is no poet, but a master painter of strength and classic 


genius, as healthy as he is splendid in color.” 


n Ps 
4 
a # 
’ - > 
Pie. 
4) ‘ ‘ oe as ie -- — 
— Te ee ——— «= SR EET roacee — . 


; i‘ an the foreground a torrent of greenish-white snow-water swirls 

4 ; around the stones. It is dyed wine color in parts by the reflection of 

- the rosy warmth in the sky, which glows upon the crags and peaks of 

. $3 - the ‘surrounding ranges of mountains, some of which are lightly spread 
| with snow. 


at. Stoned at the left, W. Knoll /73.. 


Height, 30 inches; length, 43 inches. 


WILLIAM BRADFORD 


60-—— AS Palar Expedition J h nw DA & WW 


Underneath a cliff of icebergs, that are silvery white and blue and 
yellowish green in the light parts and purple in the distant shadows, 
a three-masted vessel is fast in the ice. The latter extends to the front 
of the picture, heaped in places with broken ice-rock. Towards the 
right a group of men are busy around a pile of barrels and other sup- 
plies. Two boats lie near, and another boat with four figures appears 


farther back; while near the bow of the ship some men are handling 
a long rope. 


Signed at the right, Wm. Bradford, N. Y. 
Height, 30 inches; length, 48 inches. 


| Bradford was an admirable painter and his seven voyages to the 


Arctic regions resulted in a series of pictures that suggest with remark- 
able vividness the character of the Far North. 


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ke 


Cay 


eR nes ea ts mt 


os - vapor. 
ee 


ross the picture extends the sea, deep blue in color, with racing 
s-caps and, nearer in, a flounder of white foam and then a slide of 
Bilaw curdle pone the sand. The sky is a delicate pale blue with 


-* 


FS 


Pate at the right, Ruger Donoho. 
ae Height, 30 inches; length, 50 inches. 


TITO LESSI gf 


f 


62—Interior of a Public Library at! Florence 


I 


The long room with a vaulted ceiling, decorated with carved and 
colored ornament, terminates in a high square-topped window. Along 
the left side are books in cases behind wire screens; a gallery supported 
upon consoles running the full length, communicating with the upper 


shelves. Tables covered with books are ranged along the marble 
pavement. At the nearest table sit two gentlemen, one in dull orange 
coat with his chin resting on his hand as he reads, while the other, in 
| a crimson coat ornamented with gold embroidery, leans back in his 
chair with a book. At the next table a man in black, with white bands 
at the neck, stoops over two others who are examining a volume. 


Signed at the left, Tito Lessi, Paris, 1889. 
Height, 35 inches; length, 37 inches. 


ie Lessi’s knowledge of drawing, learned from Ciceri, his skill in 
| architectural perspective, and his brilliant treatment of textures are 
admirably illustrated in this picture. It has, too, a fine sobriety of 
i rich color; and the quiet atmosphere which envelopes the figures has 


i been felt and rendered in so truly artistic a manner, that the canvas is 
not only an exceptionally good example of this painter but a very fine 
picture. 


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Pt 
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as a piercing directness. A short cape falls over the cassock. 


Signed at the top on the right, F. Lenbach. 
Height, 33 inches; width, 25 inches. 


\ 


s _ The greatness of Lenbach as a portrait-painter consists, primarily, 


in his power of comprehending the psychological qualities of his sub- 
. ject and in the fearless veracity with which he records his observations. 


He never defers to Academic tradition or to popular fancy, he paints 


men and women as it seems to him they are. 


we 


64—The Awakening of 3h s ( Nedeece ae 


N. V. DIAZ DE LA PENA 


| 1 


Two little loves are whispering into the ears of a young girl who sits 
upon a bank beneath a dark bough, the creamy softness of her nude . 
form showing against a rose-colored drapery and deep blue sky: Her 
feet are crossed and her left elbow is supported on her knee, the head 
resting upon the hand, while the right arm droops down to the seat. 


Signed at the left, N. Diaz 63. 
Height, 39% inches; length, 32 inches. 


During the days of his early struggles Diaz painted figure subjects, 
founding his style on a blending of Prudhon and Correggio; borrowing 
from the former the short noses and almond eyes of his faces and from 
the latter the softening of outlines with sensuous light and atmosphere. 
In later life he recurred to these figure subjects as mediums for the 
expression of light and color, and introduced figures as brilliant spots 
into his landscapes. The picture in this collection was probably one 
of those highly finished studies which he kept by him as models for 
the occasional figures. 


In a narrow, tortuous street in some Spanish city a girl leans down 
ler arm through the iron bars of an upper window, while her lover, 
‘ standing on me shoulders of a man who has planted himself back to the 


be wall, reaches up to kiss her hand. On the street lie two guitars, a 


hat, and a blunderbuss. 


- Signed at the right, J. Worms. 
Height, 3114 inches; width, 21 inches. 


eee 
fy 


J. V. CARSTENS 


hy vii) 


A eer in brown habit, with the hood drawn 


66—A Sporting Monk 


head, carry- 
ing a cross-bow has overtaken the quarry which ie has shot. He is 
looking down at a wood grouse, that is lying in the long grass at the 
foot of a beech tree. In the distance upon a hill appears the roof of a 


monastery. 


Signed at the left, J. V. Carstens, Miinchen. 
Height, 31% inches; width, 23% inches. 


Al 
aa arms ae the body af a child, that has thrown itself upon her breast, 


» —* do n at a little girl ee is trying to disengage tee other 


2 eee 36 inches; width, 27 inches. 


a a cereaee 


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ia 


68—Arabs Crossing a Stream f 
4 


ADOLF SCHREYER > 


h 


A party of five mounted Arabs have reached a stream, and the white 
horse of the foremost, who is conspicuous in red jacket and fez, has 


just stepped into the water. A horseman on the left, who has his back 


towards the front of the picture, wears a white burnoose over a yellow 
jacket and rides a gray steed with blue and gold saddle cloths and red 
trappings suspended from the pommel. Rocky ground rises behind 
the group and on the right is the distant view of a city. 


Signed at the left, Ad. Schreyer. 
Height, 35 inches; length, 46% inches. 


Schreyer invested his Oriental subjects with a charming elegance 


of feeling. In them his knowledge of the horse is directed to rendering 


the graceful action and springing movement of the Arab steed, and 
he makes these animated groups contribute to a bouquet of color, 
enveloped in a tender bloom of atmosphere. 


On a rocky slope in the foreground a stag stands outlined against 


ay 


; oe - “the sheet of water which is lighted by the misty orb of the sun, that 


: oe - hangs low in the sky surrounded by a rosy aurora, yellow on its outer 
_ ring. In the distance rise pink and dove-gray peaks, with ragged 
i, y = clouds like spray around their bases. 


_ ‘Signed at t the right, Magnus V. "Bagge, 1874. 
Height, 33% inches; length, 50 inches. 


J. P. DAVIS 


The gentleman is seen as far as the knees, sitting nearly in profile 
in a crimson-backed chair, behind which is a drab background with an 
arch on the left, showing a tree and houses under a sunset sky. He 
wears an olive brown coat with roll-over collar, a white stock, and a 
cream-colored waistcoat, unbuttoned at the top, and holds in his hand — 
the Declaration of Independence. 


Signed at the left, J. P. Davis pinxit. 
Height, 45 inches; width, 34% inches. 


Pg ee gh tk i Se na 
; SESE NESS By APIA! Lon o 
Pee nf a ath a a 
“ TARTS i 


AE eas 
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Ne ae Oe ee ee ee ee 


A: 


= WILLIAM H. BEARD, N.A. 


- shoe, while his toes project from a hole in his sock. Beside the corner 
(. 1 Sa Sa : 
xe) the rickety shanty stands a bow-kneed horse—a bag of loose skin 
and sharp bones, 
tte 
vee. [ 
_—s Signed at the left, W. H. Beard /75. 
Bah eae = Height, 36 inches; length, 48 inches. 


ee William H. Beard has been characterized as a survival of the age 
of Dutch painting when satire and art went hand in hand, for his sly 
_ humor was accompanied by very skilful craftsmanship. 


HUGO KAUFFMANN 


72—A Village Auction 4 7 he : ie. 4 
é = = 
of ‘ a 

The auctioneer stands in the shadow of a roofed recess before a long : 

table, at the end of which sits the widow, holding a white jug on her 

lap, while villagers are grouped around. To her right is the auction- 
eer’s clerk, and at her feet baskets of crockery and other objects, includ- 

ing a doll. Disposed about the yard stand pieces of furniture, which 


people are examining, and in the shadow of a sideboard an old man 
sits poring over the books which lie in and around a basket. 


Signed at the right, Hugo Kauffmann. 
Height, 38 inches; length, 51% inches, 


HENDRIK SIEMIRADZKI 


73—The Sword Dance f- Pf up f 


of 


On a semicircular exedra of white marble, beneath the shade of a 


vine-trellised pergola, lounge a number of Grzeco-Roman gentlemen of 
the Empire watching the movements of a nude dancer, who poses 
upon a long strip of carpet bristling with sword blades set point up- 
wards. ‘The girls are accompanying her dance upon instruments and 
her blue drapery lies upon a bench under an olive tree on the left. The 
scene is taking place on a terrace overlooking the blue sea, which is 
bounded in the distance by a curving coast of warm, pink rocks. 


Signed at the left, H. Siemiradzki, Roma, 1887. 
Height, 31 inches; length, 61 inches. 


Siemiradzki was one of the most talented of the Russian painters 
who, fired by the success of Bulwer Lytton’s “ The Fall of Pompeii,” 
threw themselves into representations of Greek and Roman antiquity. 


JOHAN H. L. DE HAAS 


74——Cows and Landscape a 


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ra 


The pasture, sprinkled with oe stretches beneath a cool, clear 
sky with gray tufts of cloud floating in the pale biue. In the fore- : 
ground a white and dun cow is feeding on the scanty herbage, and be- 
hind her, partly hidden, stands a black one with white markings. 
Farther back on the left are a few trees and longer grass, on the edge 


5| of which another black cow extends towards us its white face. On 
the right of the foreground are a little pool and posts and rails, beyond 
which the meadow extends to a distant herd of cattle and some trees. 


~ eal Oa 


Signed at the right, J. H. L. de Haas. 
Height, 45 inches; length, 59 inches, 


De Haas is one of the realists of modern Dutch painting whose 


ce 


pictures, as Muther says, are “characterized by a dignity resulting 


from good traditions, a quiet mood of contemplation, occasionally 


verging on narrowness, a dark, warm, and almost sombre tone, singular 
taste and purity, and a certain repose and kindliness of feeling.” 


ae Bisie the edge of the river are ranged a number of girls, engaged 
Be ishing linen, while at the end of the line a girl is settling a basket 
upon the back of an old woman. In midstream is the ferryboat, in 


which a man stands with a punt pole, and near the landing stage on 


use _ the opposite side are trees, which continue along the bank of the river 
to a town in the distance. 


. 


"Signed at the left, D. R. Knight, 1875. 
- a Height, 34% inches; length, 50 inches. 


ANDREAS ACHENBACH 


| 76—Landscape and River ¢ 


The background of pine trees shows dark against a lurid yray sky, 
which clears towards the right, its white light being reflected on the 
ripples of the river that runs swiftly round the bend in its channel. A 
log is floating in the water and other fallen tree-stems strew the fore- 
ground, to the right of which is a corduroy road, on which the figure 
of a man appears. 


Signed at the left, A. Achenbach. 
Height, 39 inches; length, 57 inches. 


Achenbach was one of the first of the German landscape painters 
to feel the influence of realism. ‘‘ He appears,” as Muther says, “as a 
maitre-peintre, a man of cool, exact talent with a clear and sober 
vision.” While his landscapes are lacking in inspiration, they possess 
technical qualities of a high order; he renders with remarkable fidelity 
| the outward forms of nature, though he may sometimes miss its spirit. 


HERMAN CORRODI 


77—New Bridge in Constantinople # 


a ; A 

The bridge extends straight back from the front of the picture, ; 
with balustrade on each side and raised stone sidewalks above the 
flagged roadway. The scene is animated with figures; a donkey with 
a bundle on its back between the panniers is approaching, and on the 
right a woman holds her child upon the top of the balustrade, watch- 
ing the boats that are clustered or dotted over the water. At the 
end of the bridge are low houses with tiled roof and beyond them 
rises up the city’s pyramid of buildings, interspersed with domes and 
minarets. 


Signed at the left, H. Corrodi, Roma. 
Height, 33% inches; length, 65 inches. 


: y A : 
= % 2 
SS i wae 


CHARLES LOUIS MULLER 


78—Scene at the Conciergerie Prison during the 
Roll-call of the Last Victims of the Reign 
of Terror, gth Thermidor, 1793 


In the dull-lighted prison-hall a number of prisoners are grouped, 
| sitting or standing in attitudes of terror or of resignation around the 
grated entrance, where an officer in the uniform of the Directory reads 
off the roll of names of the day’s victims. In the street outside a lady 
| in white looks back at her late companions as she is being hurried off 
| by the guards. Prominent among the figures in the hall is a man, — 
apparently an official, who holds a pencil and paper on his knee as 
he sits with his head on his hand, as if dazed with the horror of the 
scene. In contrast with his emotion is the callous indifference of a 


brutal-looking keeper who sits by the gate. 


Signed at the left, Cs. Ls. Miiller. ; 
Height, 50% inches; length, 93% inches. 


From the sale of the John,Taylor Johnston Collection, New York, 


From Fernand/Robertj Paris, 1897. 


The picture includes portraits of the following: André-Marie 
Chénier, the poet; Mademoiselle de Coigny; Dr. St. Simon, Bishop 
of Agde; the Princess of Manoco; Countess of Narbonne Pelét; 
Marquis of Roquelaure; J. A. Roucher, the writer; Madame Sabine 
de Viriville; Rougeot de Montcrif; Marquis of Montalembert; Prin- 
cess of Chinay; the Recorder of the Revolutionary Tribunal; Made- 
moiselle Leroy, actress of the Comédie Francaise; Marchioness of 
Colbert de Maulévriers; M. Amanne, his wife and daughter; and A. 
Leguay, captain of the 22d Regiment of Chasseurs-a-cheval. 


aa 


Relating to Charles Miiller’s famous painting, ‘‘Scene at the Conciergerie Prison 
during the Roll-call of the Last Victims of the Reign of Terror, 9th Thermidor, 1793,” 
André-Marie Chénier, the poet, is represented as sitting in the centre of the Con- 
ciergerie Prison among a number of other condemned, and as composing the following 
poem : , 
«Comme un dernier rayon, comme un dernier zéphire 

Anime la fin d’un beau jour, 
Au pied de l’échafaud j’essaie encore ma lyre. 
Peut-¢tre, est-ce bientét mon tour, . 
Peut-¢tre, avant que l’heure, en cercle promenée, 
Ait posé sur l’émail brillant, 

Dans les soixante pas ou sa route est bornée, 
Son pied sonore et vigilant, 

Le sommeil du tombeau pressera mes paupiéres; 
Avant que de ces deux moitiés 

Ce vers, que je commence, ait atteint la derniére, 
Peut-étre en ces murs effrayés 

Le messager de mort, noir recruteur des ombres, 
Escorté d’infames soldats, 

Remplira de mon nom ces longs corridors sombres 


Chénier was about completing the above poem when the voice of the executioner 


echoed the name of oe A 


y + i 
L Lue te Me, tert” es, 


nts estnttLIDA LALA ADDIE ALLA AAP AAA NAEL EA 


ALBERT BAUR 


SS 


e Thirty Years’ War 


Three soldiers of the army of the Emperor, engaged in looting, 
have come upon something behind a curtain which arouses their in- 
terest and merriment. One of them has chickens trailing from his 
hand, another a bunch of onions on his halberd, while upon the floor 
lie apples, wood, and a blue and gray jug. 


Signed at the top on the left, Alb. Bauer, We /74. 
Height, 6514 inches; width, 38 inches. 


EMILE RENOUF 
80— Last Repair, My Poor Friend!” : 


An old fisherman, kneeling upon the beach beside a boat, pauses 
in the work of mending it to look straight before him. He has his 
arms upon the gunwale, with one hand holding a hammer and in the 
other a patch of wood, from which a long nail projects. Behind the 
boat the gray-blue sea is curling over the flat shore in long, low turn- 
overs of white foam. | 


Signed at the right, E. Renouf /79. 
Height, 56 inches; length, 81 inches. 


From the Mary Jane Morgan Collection. 7% ¢€,% & » 


HANS MAKART 


81—‘* A Midsummer Night’s Dream ” 


= ty ee 7 Eras 


. Amidst the luxuriant foliage of a garden, in which cypress trees 
and rock pines cast their dark silhouettes against a greenish-blue sky 
twinkling with stars, on a couch improvised upon a stone ledge from 
under which flows water into a basin surrounded by ferns and garlands 
of luscious fruit, two lovers are reposing, while two loves hover above 
them. The youth sits up, and the girl, as she lies, leans towards him. 
Near a balustrade on the right is a group of figures, one with a lan- 
tern peering down to the ground below the terrace, while a woman, 
crouching beside a man, looks over the edge of the masonry. Close 
to her is a chattering monkey. 


Signed at the right, Hans Makart, 1868. 
Height, 74 inches; length, 112 inches, 


Not a great draughtsman, but a brilliant colorist, Hans Makart was, 
as Muther says, an inspired painter, whose merit it was to have an- 
nounced to the Germans afresh in an overwhelming style that revela- 
tion of color which had been forgotten since the Venetians and Rubens. 


eecaheet pee RENAN SY NIE ASSEN REY A NN ea gy ee 
EYAL OPE NS pe chee ries ae 
PE apes yor 


bf Bu 260, FO. 


Fee ad 


SECOND AND LAST EVENING’S SALE 


WEDNESDAY, APRIL SECOND 


AT MENDELSSOHN HALL 


FORTIETH STREET, EAST OF BROADWAY 


BEGINNING PROMPTLY AT 8.30 O’CLOCK 


EUGENE JOSEPH VERBOECKHOVEN 


325 


82—Goat and Calf 


A white goat with black head and neck is shown in profile with its 
head craned forward. Behind it and a little to the right lies a dun 
calf. 


Signed at the left, Eugéne Verboeckhoven, 1839. 
Height, 4% inches; length, 5% inches, 


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i ong the buff Bad brown straw a white hen stands a little in 
f ont of a dark black rooster with bold neck feathers. 


aiened at the right, Ch, Jacque. 
Height, 3 inches; length, 414 inches. 


| : 


Pos | - For Medic poultry had a special fascination. When he was poor 
as i Lie he had lived with them in his lodgings, and when he became rich their 
; quarters are said to have covered more space than his own house. He 

_ wrote a book about them and introduced them into pictures, with an 


a 
a re f “equal regard for realism and for beauty of pictorial effect. 


3 = ae 
=f 
a oe 
2 


84—Head of an Old Woman 


CARL KRONBERGER 


An old lady sits with her head a little to the left looking up at us as, 
with her hands crossed upon her lap, she holds a little book. She wears 
a plum-colored silk dress edged with light brown fur, and a silk ker- 
chief under it fastened at the throat with a brooch, while her cap is of 
black lace and net over a wire framework. 


Signed at the upper left, C. Kronberger. 
Height, 7 inches ; width, 5 inches. 


An Italian peasant-girl is trimming the vine which straggles over 


| a sunny white wall, against which are also set some rabbit hutches. 


<a By her side is a large basket with a board across it on which rests - 


a plate with a bunch of grapes. 


Signed at the right, G, Favretto. . 
2 Height, 81% inches; width, 5% inches. 


t _ Favretto’s soft rich painting was that of a colorist of distinction ; always taste- 


exquisite in tone and light, and appetizing in technique.—MUTHER, 
er 2 


JEAN LOUIS ERNEST MEISSONIER 


J (] ‘ ss S a, nd 
i) 7 ~_v 5 3 wl ee 


An old man carrying a flat basket on his arm looks over his left 
shoulder as he walks along. He wears an open blue waistcoat and 
brown breeches, suspended by a scarlet belt. 


86—Papa Pierre 


Signed at the right, 3M 
Height, 6% inches ; width, 4 inches. 


The genius for the infinitely small has never been carried further than by 
Meissonier.—MUTHER. 


A dealer in crockery has disposed” his wares upon the g : 
_among straw and is offering them to the peasants who are gathered 
round. A similar group appears a little farther back and to the right 

of it two horses stand loose beside a wagon. Booths and houses show 
beyond, and the open space is bounded by a long building with pigeons 
resting on its roof. 

Signed at the right, Pettenkofen. 

Height, 5 inches ; nee 9 inches. 


Fd 


W. H. Stewart Collection, New York, 1898. “/. 4 / Ye 
——s cise bi MELAR EDS PR PTET IAI HG Seog ota ya Zé iL? - 7 ef : ¢ 


Pettenkofen spent his summers in the little town of Spolnok on the 
Theiss to the east of Pesth, wandering among the whitewashed houses 
and the dealers’ booths, studying the people as they worked or rested 
for their meals. He was not concerned with character or with particu- 
lar incidents, but viewed the life in its quiet animation, satisfied to 
depict each scene in its simple general manifestation of picturesque 
action. And a special feature of his pictures is their tender, dreamy, 


lyrical quality expressed in a delicate harmony of color. 


ae 


6: 
Ose 


oe 


MEYER VON BREMEN 


88—Field Flowers 


A little girl, turning her head over her right shoulder to look at 
us, holds an armful of flowers, her blue apron being gathered up to 
form a pocket for them. Behind her are trunks of trees and foliage 
with a glimpse of light blue sky in the top of the picture. 


Signed at the right, Meyer von Bremen, 1886, 
Height, 9! inches; width, 7 inches. 


meee Pa 


tn a a ee Py a 


—— ae 


ts Paving his sword, while an old man backs up against the wall 
trying to reach the bolt of the door and a woman in front of him grasps 


a stick and shakes her fist at the Ne ag 


~~. 


Signed at the right, J..G. Vibert. 
Height, to¥% inches, length, 15 inches. 


Vibert is one of the modern “ Little Masters” influenced by Meis- 
-sonier, who has won reputation for his daintily painted costume 


subjects. 


. , F : P oo A 
Def? lane | 189 
TS ce ries #. 


go—Still Life rR G (4 


MAX SCHODL 


wor 


On a table covered with a dull crimson cloth, with a green, drab, 


red, and blue drapery bunched on the left of it, stand several objects of 
Oriental art. They include a Chinese jar with pictured decoration 
set in panels; a tall vase of citron color ornamented with foliage 
design and having a blue band round the shoulder; a little ivory 
carving and a bronze. 


Signed at the upper right, Max Schédl, 1887. 
Height, 10 inches ; width, 7% inches, 


42a 


ETIENNE PROSPER BERNE-BELLECOUR 


g1—Sentinels 


oa 
Ber al 


In a dreary level meadow an infantry soldier, in blue uniform and 
white gaiters, stands sideways, resting upon his grounded rifle in which 
the bayonet is fixed. Beyond him another sentinel faces us, also stand- 
ing at ease. 


Signed at the left, E. Berne-Bellecour. 
Height, 10% inches ; width, 614 inches. 


Berne-Bellecour was a member of the Artists’ Brigade during the 
siege of Paris and participated in the battle of Malmaison, which he 
afterwards represented in a large picture with minute accuracy of 
detail. This accuracy, mingled with spirit and character, renders his 
studies of the soldier valuable bits of military portraiture. 


ee ees SS 
. r ean’ t 


MARTIN RICO 


92—Venice 


wt 


On the right of the narrow canal is a gray building with a series 


i of arches and columns applied to the upper story, and a buff awning 
i | extending over the doorway on the step of which sit a woman and child. 
Beyond this building is a high one rising with several gabled roofs, 


| 
: and at this point the water is spanned by a flat-arched bridge, through 
| which appear an approaching gondola and distant houses. 


Height, 11% inches; width, 6% inches. 


: . Signed at the right, Rico. 
i 

| 

Rico was for a long time with Fortuny in Italy, and his pictures also 
\ have the sparkle and zest of champagne. But, for all their piquancy, 
| they are broader in treatment than his compatriot’s, being marked by 
i an intensity of light and delicacy of atmosphere. He is especially 


fond of depicting the lazy, lambent brilliance of noonday’ sunshine. 


AUGUST VON PETTENKOFEN 


93—Les Amoureux & A / é } 
Soe : hort lta 4 


~ On opposite sides of a wall two women are leaning across to kiss 
each other. The one in full view wears a white robe with long looped 
sleeves, and a dark blue sleeveless jacket, while the bust of the other 
is clad in a yellow jacket with similar white robe. On the ground 
stands a red earthenware pitcher, beside which lies another. 


Signed at the left, Pettenkofen. 
. Height, 10 inches ; width, 8 inches. 


M. A. Dreyfus Collection, Paris, 18809. _ Les 
eS ~ EEN se a aye “7 ¢ 


Og 


7? * gs ZF re at 4 
gw e rf ETS Pa < & 
¥ Cot "4 & ‘3 Ee bs oe 


Pettenkofen spends his summers in Hungary and painis the 
peasants or the inhabitants of the little towns at their toil or in their 
moments of relaxation. His pictures are very simple and unaffected 
in subject, records of some picturesque action rather than of character, 
and distinguished by a delicate tonality of color. 


JOSE BENLLIURE 


94—A Cardinal 


- On his seat within the sanctuary an old cardinal reclines, with his 
head bowed, his hands upon the arms of the chair, and his feet resting - 
onacrimson cushion. Beside him stands a tall lighted taper and close 
by is seen a corner of the altar draped in purple. Farther back in the 
scene peasants are kneeling, and beyond them are the railings of the 


screen. 


Signed at the right, J. Benlliure. 
Height, 1214 inches; width, 8 inches. 


i | Benlliure’s large canvas “A Vision in the Colosseum” made a — 
i great sensation in the Munich Exhibition of 1883; but his admirable 
skill is more agreeably shown in his little pictures, which give him 
worthy rank among the followers of Fortuny. . 


: her left elbow upon a table and holding a blue jug upon 


"her apron. She turns smiling towards a gentleman in dull purple 

a satin ‘coat and white peruke who leans his hands upon a cane and 

ie smiles at her. A glass stands before him on the table and his three- 
ity "cornered hat lies Ae a barrel to the left. 


oH Signed at the right, I. Laupheimer /84. 


Height, 9% inches; length, 10 inches. 


W. LOWITH 


96—The Connoisseurs 


| A party of connoisseurs is visiting a studio and the painter, in long 
i blue coat, stands at the left of his picture, pointing out its features. 
i One of the party examines the canvas at close range through his eye- 
i | . glass, while another sits at some distance, leaning back in his chair in a 
ito critical attitude. On the left of the foreground are piled some prop- 
erties, including an image of the Madonna and a blue and rose colored 
1 | Chinese jar. 


Signed at the right, W. Léwith, 1890. 
Height, 9 inches; length, 12 inches. 


GABRIEL MAX 


, Gi fe 
ea Girl's Head LL lee ee 


The face of a girl looks out of the picture with a searching expres- 
sion in the large brown eyes. Her soft flaxen hair falls in loose curls 
on to her shoulders, over a pink dress which is shaped in a curve around 
the neck. 


Signed at the right, G. Max. 
| Height, 124 inches ; width, 9% inches. 


Gabriel Max is one of the strongest and most original of the 
Munich artists. Especially has he chosen for his themes some phase 
of girl or womanhood subjected to torture, or the visionary look of the 
face under spiritualistic or hypnotic influence. Even when he paints, 


as in this case, a simple head, he gives to its expression something of 
the bitter-sweet, of a sort of mysterious, ensnaring blend of sweetness 
and sadness. 


4 
UNKNOWN 


98—A Copy after Fra Angelico 


On a circular gilded metal panel is a group of angels, each resting 
her foot upon a cloud. Their robes, pale blue, rose, or plum-colored, 
are spangled with gold stars, and the figures at the back stand in a 
row blowing long trumpets. 


Diameter, 13 inches. 


r gilded metal panel stands a group of angels ; the one 


| in dull purple, the others in rose or blue. 


_ Diameter, 13 inches. 


A brown-bearded man, in black skull-cap and crimson velvet robe 
with full sleeves, leans back in an oak chair, resting his head upon 
his hand and studying a parchment. On the green velvet table cover in 
front of him lie parchments and books, one of the latter having clasps, 
another strings. Behind the table stands a reading desk, holding a 
volume bound in crimson levant with gold tooling. 


Signed at the left, @Meissonier, 1880. 
Height, 12% inches; length, 15% inches. 


Meissonier’s superiority to other French painters of manners and 
costumes of the eighteenth century consists not only in the fidelity 
to nature with which he renders the figures, but in the complete unity 
of effect that he gives to the figure and its surroundings. He used to 
arrange the scene in his own house or studio and from the first saw the 
picture as a whole, and not as an aggregation of effects gathered piece- 
meal. Hence the picture has a completeness of realistic truth to nature 
which gives a peculiar cachet to his works. 


BENES KNUPFER 


1o1—A Sea Nymph 


On a ledge of rock, over which a blue drapery is spread, a nude 
woman lies; a wall of rocks towering above her and the green sea 
breaking in spray around her. 


Height, 14 inches; width, ro inches. 


ETIENNE PROSPER BERNE-BELLECOUR 


—The Trooper’s Story | VM 
MJ i. 


An officer in blue tunic and red cap and breeches leans forward with 
his hand on the neck of his bay charger as he sits listening to a trooper 
in steel and brass helmet who stands by his side. The latter rests one 
hand on the officer’s holster while he points over his right shoulder 
with the other. Ata little distance back, towards the right, two other 
soldiers are standing, and beyond them appear a stack and cottage, 
enclosed by a hedge and sheltered by trees. 


Signed at the left, E. Berne-Bellecour, 1899. 
Height, 16 inches ; length, 2234 inches. 


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_arm’s eth hie halberd, grounded upon the floor, his left hand on 


“his pp. The uniform consists of a red 218 a white silk ean with 


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a _ Signed a at the right on the base of a column, A. Lesrel, 1873. 
Height, 17% inches; width, 11% inches. 


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CHARLES FRANCOIS DAUBIGNY 


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The river, scattered ith beds of thes winds between indented 
banks, the right one sloping up with grass to where a woman sits near 


a dun cow, watching a man who stands in a boat fishing. On the left 
bank grow poplars in front of other trees, and a dark belt of foliage 
stretches across the distant horizon. Above the creamy rose of the 
lower sky, gray clouds dapple the faint blue. 


Signed at the right, Daubigny, 1871. 
Height, 13 inches ; length, 22 inches. 


Daubigny excelled in rendering the delicate, vaporous air and the 
quiet hush upon water and meadows, at the twilight hour—and with- 
out any touch of sadness. The feeling of his pictures is gladsome as , 
well as restful, full of the happy, simple, ~atveté of a child. 


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SALOMON CORRODI 


Water Color 


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Bi resssias shows against the horizon and from the distance the blue 

2 "water of the Bay of Naples, dotted with sails, extends to the front of 
A ‘the picture, where it is bordered on the right by a terrace walk. This 
zi skirts a ees wall overhung with trees and is edged on the water’s 
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Height, 13 inches; length, 20 inches. 


106—F ontainebleau Forest Awe? Ig FBS 


N. V. DIAZ DE LA PENA 


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eal ae long glade is bordered by beech and oak, the light shining 

upon the distant trees and upon some white tree stems on the right, 

falling also in a flash of glow upon the grass. Near the foreground, 

beside a bowlder, is a little hollow filled with water that reflects the 
gray of the sky. 


Signed at the left, N. Diaz /72. 
Height, 17 inches ; length, 21 inches, 


Diaz often accosted a visitor with the inquiry, “ Would you like to 
see my latest tree stems?” He loved to paint the light upon their 
smooth or wrinkled surfaces; to paint it also percolating through their 
canopy of foliage, or frisking in unexpected freedom upon the green- 
sward. Light was his constant theme, on which he found endless 
variations in the recesses of the forest. 


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v woman. is pouring liquid into a large tub, through a cloth strained 


over its top. The tub is supported on trestles, and underneath it is 


Bs ye a smaller one into which the liquid is flowing. : 
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_ Signed at the right, J. F. Millet. 
a Height, 17 inches ; width, 12% inches. 


‘Millet takes rank among the few really great draughtsmen of all 


aias. and his command of line and mastery of expression are exhibited 


: oad in the inspired authority of the few strokes that compose 


- his Benge and drawings. 


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108—Sunset after Rain , 


THEODORE ROUSSEAU 


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Overhung with purple-drab clouds, the sunset is io with 
layers of cream and blood red against which show a dark wall of trees 
and the silhouettes of two higher clumps. The latter grow on opposite 
sides of a raised road along which a man is approaching. To each hand 
is a stretch of water, the one on the right shining like burnished copper; 
and in the foreground are tufts of bright green reflection. 


Signed at the left, Th. Rousseau. 
Height, 114 inches; length, 15 inches. 


Rousseau’s deep and powerful reverence for nature, which grew in 
time into a kind of nature worship, led him to most minute study of 
her forms and phases. This represented the active attitude of his mind 
in presence of nature: for the rest he passively surrendered himself, 
losing all thought of personal sentiment in the complete absorption of 
his soul into the subject before him. Hence the grandeur of the poetic 
suggestion in his pictures—a suggestion straight from nature and 
altogether of nature, comprehensive and infinitely convincing. 


Pastel 


The ieee is seen full oe Avith a pine ae on Pie nor of its 
i 2 ‘muzzle and a warm glow illumining the other cheek and glancing on 
the fine, os. tok 


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eh = Signed at at the left Sg Bonheur. 
ee Height, 18 inches; width, 1434 inches. 


ON ot only did Rosa Bonheur know her beasts thoroughly and depict 
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pula them with unerring fidelity, but she imparted to her drawing a large- 
a “ness of style aa raised it far above the ordinary. 


JEAN BAPTISTE CAMILLE COROT 


I 1o— Avenue Ob itcess a 
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The avenue leads back from the front of the picture, flecked with 


sunshine and shadow, while the light plays softly also on the birch 
4 , stems. Some of the trees on the right lean over the path, and beyond 
. Il tiagt= * h118 the border of grass on the left runs a wall, on the inside of which is 


ner“ another row of trees. Down the pathway comes a woman with a little 
child. 

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y Signed at the left, Corot. 

; Height, 24 inches ; width, 18 inches. 


Corot is the “sweet singer” of the Barbizon group, reproducing 
the sweetness of his own disposition in his choice of gentle subjects 
and in the tender melodiousness with which he renders them. The 
sunshine and shadow, the foliage softly massed against the tremulous 
sky, vibrate with songful rhythm. His ear catches the spiritual har- 
mony of the scene and he translates it into color with the te of 
unconscious poetry. 


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d by an older child to an old man in dark green jacket and fur cap, 
, pipe in hand, leans forward in his chair. Behind him stands a 


nan and on the floor sits a fair-haired child with a doll by her side. 
urther back is a mastiff, and through an open door at the back of the 
m an old woman watches the scene. _ 
igned at the right, A. Sperl, Miinchen. 
ae : ae Height, 17 inches ; length, 214 inches. 


JULES DUPRE 


112—Village near the Sea 


In the evening glow fishing boats are lying high and dry in a little 
creek at low tide, that winds towards the foreground between banks 
i on which are cottages. The one on the left has a brown-gabled roof 


and central chimney, and a red garment is hanging on the net rack 
beside it.. A wall runs up the right slope to a white cottage with 
lean-to ovens. Beyond the creek appears a glimpse of purple-gray 
sea, and the sky is gray with a few light clusters of cloud high up. 


Signed at the right, Jules Dupré /72. 
Height, I9 inches ; length, 25 inches. 


Sometimes Dupré painted nature in her stress, sometimes in the 
moment of suspense before the storm; or again, as here, in the after- 
throb, when the storm or toil is over. Directly or by implication he 
makes one realize the throe. 


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dog’ Ss face. raya some cushions behind, a tabb lies with its head be- 
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s ae at the left, M. Stocks. 
2 Es, ae. Height, 18 inches ; length, 26 inches. 


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114——Le Puy 


This curiously rolling country, of volcanic origin, bounded by the 
mountains of Auvergne, is a portion of the department of Haute-Loire; 
the little town of Le Puy being seventy miles southwest of Lyons. 
Three masses of red and slate-colored basaltic tufa rise abruptly near 
the little winding stream of the Borne. The houses of Le Puy are 
built in tiers up the slopes of Mont Anis, the large formation in the 
middle distance, which is surmounted by the rocky plateau of Rocher 
Corneille. To the left of a little bridge that crosses the river on arches 
is the high, conical crest of Rocher St. Michel, and in the left of the 
foreground a third mass, around the base of which nestle white houses 
with red roofs. In the Church of St. Laurent in Le Puy rest the 
remains of Du Guesclin. 3 


Signed at the right, Th. R. 
Height, 1614 inches ; length, 25 inches, 


M. Le Comte Armand Doria Collection, Paris, 1899. 
Vente Beurnonville, Paris, 1880. 


WILL WEX 


11 5—Sunset 


Two men are approaching a straw-thatched shed, having left their 
boat beside the bank of coarse grass. The water on the right stretches 
in smooth strips across the picture, alternating with land and burnished 
yellow in the evening glow. The low-lying land fringed with trees is 
purple in the distance beneath a primrose horizon that mounts to gray 
and faint blue. 


Signed at the right, Will Wex. 
Height, 1514 inches; length, 311% inches. 


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JEAN GUIDO SIGRISTE 


116—Napoleon and his Generals Consulting 


On a patch of grass in the angle of two pathways Napoleon is 
; seated at a little wooden table, measuring with a pair of compasses the 
: distance on a map in front of him. Sitting on the other side of the 
table an old general watches intently, while around them are grouped 
a number of officers. One ina blue uniform leans with both hands on 
the end of the table; two in black and white, at Napoleon’s back, are 
: studying a despatch, and immediately on the right a cavalry officer in 
4 scarlet and gold leans back in a chair. The chief’s tent is on the right 
; of the picture, with a soldier on sentry duty at the door, and on the 
left is another sentinel, who holds his fusil to his shoulder while grasp- 
ing the hilt of his sabre with the left hand. On the reverse of the can- 
vas are several finished studies of grenadiers. 


Signed at the right, Guido Sigriste, 1897. 
Height, 21 inches ; length, 28% inches. 


Since Sigriste exhibited at the Salon in 1890 he has gained con- - 
siderable popularity for his military subjects. 


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the sloping bank on the right. 


Height, 19 inches ; length, 33 inches. 


MATTEO VITTORIO CORCOS 


118—The Proposal 


The same lady as in the companion picture, holding a black hat 
suspended in her hands, leans lightly against the balustrade with her 
back to the sea. She is looking down with a smile at a gentleman in 
a boating jersey of blue and white stripes, who, probably standing in 
his boat, rests his arm on the balustrade as he gazes up into the lady’s 
face. The packet-boat is disappearing in the distance. 


Signed at the right, V. Corcos /83. 
Height, 36 inches; width, 23 inches. 


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vatching the distant packet-boat. Another lady, dressed in a blue 
yn with transparent lace sleeves and purple embroidery on the 
ce, holds her companion’s hand, looking up into her face as if in 


Height, 36 inches; width, 23 inches. 


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HERMAN CORRODI 


120—View on the Nile 


The river, tranquil in the sunset glow, winds back from the front 
of the picture, the vista terminating in two pyramids, which show softly 
against a blood-red horizon. The sky above it trembles with saffron 
| tints, melting towards the zenith into violet. Upon the bank in the 


foreground four Arabs are kneeling on their praying rugs, while two 

others stand; all turned towards the sunset. A little way back on the 

right their sailboat is moored opposite to a small square building, whose 

i | domed roof is surmounted by a crescent. Two palm trees rise above 
it, and beside the enclosure of the building a white awning has been 
erected, under which figures are grouped. 


Signed at the left, H. Corrodi, Kairo, 1879. 
Height, 39% inches; length, 25 inches. 


In his landscape and genre subjects Herman Corrodi exhibits a 
charming sense of color and the ability to express very genuine feeling. 


y i 0. : My ag ntl, RAAALEA 


F. AERNI 
121—A Mountain Pass 


A mountain path skirting a steep incline winds up towards the 
right, past a wayside cross to a high bluff of rock, whose dove-gray and 
brownish-yellow mass fills almost the whole of the upper part of the 
picture. At the foot of this rock in the distance is a little, pale yellow 
building with red roof, towards which, in the foreground, a brown- 
habited monk seems to be journeying, walking beside a donkey that 
bears white bags with a blue umbrella laid across them. 


Signed at the right, F. Aerni, Rom /97. 
Height, 45 inches ; width, 28 inches. 


JULES BRETON 


122—Harvesting the Poppies 


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Women in a line are reaping the purple poppy pods, a girl in the 
foreground is binding stems together, another stooping to gather up 
| some sheaves, and farther back a girl and a man are setting up a stook. 
i A windmill and stack appear against the pale rosy horizon, above which 
a nearly full moon floats in the gray sky. 


Signed at the left, Jules Breton, 1896. Sal.a~ i x bs 


Height, 35 inches ; length, §3 inches. 


Jules Breton is the graceful sentimentalist of peasant life, fond 
especially of sunsets and of depicting young girls in the labor of the 
i fields—girls that Millet said were too beautiful to remain in the coun- 
try. <A strain of poetry runs through all his pictures. 


[)S- 


WILLIAM BRADFORD 


123—Waiting 


A three-masted sailing ship lies under an iceberg, with her bow 
pointed in the direction of a narrow channel of water that winds through 
the field of ice. The berg immediately behind rises up to a blue peak, 
while another to the right has a cliff formation, and others similar in 
shape appear in the distance. The sky is of slate color, dark and op- 
pressive. On the right of the foreground some green ice-rocks are 
reflected in a pool of water. 


Painted in 1874. 
Height, 30 inches ; length, 48 inches. 


Bradford made seven visits to the Arctic regions, and his interest 
has reached beyond the mere grandeur of the spectacle. He is able 
to render with intense significance the feeling and character of the 


North. 


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124——Landscape and Cattle 0 
Ros erbleefd 


A pale dun cow, grazing upon ihe short grass, fale close to a 
black bull, who stands sideways scenting the air. His head is near to 
a bunch of weeds, which continue with bold vegetation through the 
right of the foreground. On a ridge of the meadow beyond a lean 
buff cow is moving away, and slightly farther back a brown and a white 
cow are butting their heads low down. In the middle distance appears 


a man walking beside a horse and his rider. To the left of the meadow 
is a row of willow trees that catch the cold light, which also gleams 
shiftily across the grass from a pale blue sky in which are volumes of 
; white cloud, grayed underneath, and a gathering storm cloud. 


| Signed at the left, C. Troyon. ; 
4 Height, 38% inches ; length, 51% inches. 


In Troyon’s pictures the form and character, equally of the land- 
scape and of the cattle, are represented. The goodness of the rich © 
green grass has entered into the beasts, and the nourishment of plen- 
teous, wholesome air. Ona sunny day their huge, lumbersome forms 
partake of the genial lassitude: when there is stir of cloud and wind 
their actions become a part of the general movement. The signifi- 
cance of this interdependence Troyon rendered with supreme com- 
pleteness. 


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F. AERNI 


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A view of mountains and of sunlit country appears at the end of. 
Ss street, down which two ox-wagons are approaching, the 


re of the front one standing up and brandishing his goad. On 


- the left a donkey, with panniers full of corn-stalks and a child perched 


, even them, ‘is going from us, and on the opposite side of the street 


On the right also is an open stall, with dried 


Signed at the left, Fr. Aerni, Rom /88. 


Height, 48 inches ; width, 29 inches, 


126—-A Nude Girl 


On a dull crimson couch which is partly spread with a drapery of 
cream and pale green damask, sits a young girl, her back towards us 
but the face and limbs seen in profile. Her long hair gathered loosely 
at the neck with a red ribbon falls in a stream over her shoulders; 
her right hand, placed on the couch, sustains the weight of the body; 
her left apparently rests on her breast: she slightly inclines her head 


and looks up with her blue eyes. | # 


Signed at the right, A. Asti. 
Height, 51 inches ; width, 31% inches. 


HERMAN CORRODI 


127—Evening on the Lagoons 


A little shrine hangs on the foremost of the groups of posts which 
mark the entrance to the lagoons, and nearby two long fisher boats lie 
side by side, while the crews pause in their work to play. Over the 
stern of the nearer boat is stretched a dull orange awning in front of 
which rises a curl of thin smoke. Farther back are white swallow 
sails and two tawny ones dotting the distant white line of the gray-blue 
water. Whitish gray clouds are piled over the horizon and scattered 
throughout the upper blue. 


Signed at the left, H. Corrodi, Roma. 
Height, 34 inches ; length, 65 inches. 


To Italian skilfulness of technique Corrodi joins a seriousness of 
motive, resulting possibly from the influence of his father, who long 
painted among the Swiss Alps, and of his brother, who was an historical 
painter, as well as from his own extensive travel and study. 


Wit ES thS e 


CARLO DOLCI 


128—Lucrezia Borgia 


The head and bust are shown; the latter draped with white fabric 
that is caught together on the shoulder with a jewel, leaving the right 
breast bare, on which appears the head of a snake. Her head is slightly 
inclined to the left, the eyes looking up; and over her wavy yellow- 
brown hair is a crimson cap set with gold and gems, which is sur- 
mounted by an arched ornament of old rose-colored silk. In her ears 
are gold cross-shaped pendants, studded with blue stones. 


Height, 13 inches ; width, 9 inches. 


Carlo Dolci’s tendency to sentimentality should not cause one to 
overlook his skill as a painter. 


Yar W 


CORNELIS VAN CEULEN JANSSENS 


129—Dutch Gentleman 


Sitting sideways at a desk with his left fingers between the leaves 
of a book and a quill pen raised in his right hand, a gentleman in black 
robe with white ruff and lawn cuffs, turns to look towards us. He has 
short brown curly hair and a soft mustache and Van Dyck beard of the 
same color and ‘the flesh tints are bright and clear. In front of his 
desk is a large bust; a dull drab pilaster is set against the wall behind 
him and in the top right hand corner appears a coat of arms—blue and 
buff diagonal stripes, surmounted by a five-point coronet. 


Signed at the lower centre, Janssens, 1629, pinxit. 


Height, 13% inches ; width, 11 inches. 


Cornelis Janssens during part of his career showed the influence of 
Van Dyck both in the freshness of his coloring and by a certain finesse 
in the pose. His portraits, refined in conception, correct in drawing, 
and careful in details, are to be found in the National Gallery in Buck- 
ingham Palace, in the Town Hall of Amsterdam, and in the Museums 
of Utrecht and Rotterdam. 


eT SO ARS SWC SORT 


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GERARD DOU 


130—Old Woman Chopping Onions by Candlelight 


The light of a candle illumines with a warm glow the face of an old 
woman, her dull red gown, and a dark crimson curtain that is draped 
upon her right. She stands at a table in the middle of which is a large 
shallow bowl in which she holds the chopping knife; onions, some other 
vegetables, and a brown earthenware jug also lying on the table, dimly 
seen in the half shadow. The woman looks up, with her lips slightly 
apart, showing the teeth. 


Signed, G. Dou. 

Height, 12 inches; length, 15 inches. - 
Collection of Mr. Donovan, Brighton, England. 

Collection of Mrs. Poullett, London. 

Collection of T. Humphrey-Ward, London. 


Among the “ Little Dutchmen ”’ Gerard Dou was a painter great in 
little things. He attained wonderful mastery in delicate execution: 
and his works are remarkable for high finish and for lightness of hand- 
ling, and for the attempt to introduce into them the principles of 


chiaroscuro learned from Rembrandt. 


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- OLD MASTER 


and a ¢ The latter, 
_ who is aa him money, stands on the step of a church porch, behind 
him being a attendant with a large book. To the right are grouped 


other applicants for alms, among them a woman with a baby who is 
ing away, leading a little child that holds up a coin. 


Height, 14 inches ; length, 14 inches. 


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SIR THOMAS LAWRENCE, P.R.A. 


13 2—Portrait of the Rev. Burroughs Thomas Nor- 


gate, M.A., at the age of twenty-three 


The figure of a young man is shown as far as the waist, facing 
he three quarters to the left, while the head is turned towards the right. 
| | The pale blond hair parts in two soft locks on the forehead, and the 
| complexion is fresh in color. Beneath the chin hang white lawn bands 
over a black gown. . 

Height, 24% inches ; length, 29% inches, — 


The Rev. Mr. Norgate was incumbent of Badwell and lecturer of 
Ashfield; Fellow of Caius College, Cambridge. Died, 1855. 

A brilliant brushman, Lawrence gave to his portraits an exceeding 
graciousness of mien. From the time of his election as a Royal Acade- 
mician, at the age of twenty-five, he enjoyed an unrivalled reputation; 
and to-day his portraits rank in the early English school as second only 
to those of Reynolds and Gainsborough. 


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JOSEPH MALLORD WILLIAM TURNER, 
R.A. 


133—Port of Ravenna, Italy 


A vista of water, bordered with quays and shipping, terminates in a 
dome, faintly seen against the saffron sky in which the sun floats in 
vapor, surmounted by rosy strata of clouds. On ‘the left of the fore- 
ground a tall tree and two smaller ones grow by a quay and bridge, 
on which figures appear. In the middle distance on this side of the 
picture is a dome, and corresponding with it on the right are domes 
white in the light, while another dome appears on the distant horizon. 


Height, 2414 inches; length, 29% inches. 


“This painting represents a view of Ravenna in Italy. It was painted by Turner 
in 1829 for the family Powis, who resided in Italy at the time, at the Villa de Stresa. 
In consequence of a death in the family they left Italy and this painting became the 
property of the villa where the family resided ; there my father bought it. 


“*“P, Wismara, 
‘6 Place Vendéme, Paris. 
“May, 1889.” 


Turner, says Muther, “ remains a phenomenon without forerunners 
and without descendants.” In his desire to express a majesty of senti- 
ment, he collects into a small space the greatest possible quantity of 
light, making the perspective wide and deep, and the sky boundless, 
using the water to reflect the brilliancy. 


Nah BeOS EAE 


REMBRANDT VAN RY N 


134—Portrait of an Old Man 


This head and bust is known as the “ Portrait of an Old Man with 
his Throat Uncovered.” It represents a massive head with iron-gray 
short curly hair, mustache and beard, slightly inclined towards the left. 
The flesh is full and thick, heavily wrinkled on the forehead, of warm 
yellow hue with ruddy cheeks; the nose being broad and strong and the 
brown eyes rather deep set. The throat and chest are exposed by the 
open white shirt, over which is a dull wine-colored robe. The light 
from above illumines the right side of the face and the right shoulder; 
the background on this side being dark olive brown and on the shaded 
side of the head, a warm drab. 


Signed above the left shoulder, Rembrandt f 1635. 


Height, 26 inches ; width, 21 inches. 


Described in Dr. Bode’s complete work of Rembrandt “ Vol. Il. at 
No. 204. Engraved by Jacquemart in the Gazette des Beatix Arts 
Rea 
and in the Demidoff Sale Catalogue, exhibited at Amsterdam in 1808. 
Described in Vosmaer, p. 508; Bode, p. 389; Dutuit, pp. 21, 51, No. 


81; Wurzbach, Nos. 292, 299; Michel, pp. 217, 563. 


From the Auginot Collection, Paris, 1875. 


From the Prince Demidoff Collection, San Donato, 1880.gApeh(S #/e35— 


From the Ch. Sedelmeyer Collection, Paris, 1880. 
From the Leopold Goldschmidt Collection, Paris. 
From the Thos. Agnew & Sons Collection, London. 
From the R. W. Hudson’s Collection, London. 


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This portrait was painted a year after Rembrandt’s marriage with 
Saskia during the happy period of his life. He was but twenty-nine 
years old, and yet, already by the fertility of his brain and hand had 
amply proved himself a master. Nor a master only of his craft, dis- 
tinguished by the amazing versatility of his craftsmanship, but:a master 
also of the human mind and heart. Their humanity is the crowning 
excellence of his portraits. The subjects are persons of like passions 
with ourselves, with whom our experience establishes an immediate 
companionship of sympathy. Separated from us by centuries and by 
the difference of race, they yet grow into our comprehension and 
affection, as truly typical of our common human nature. Of all the 
pictures of the world, Rembrandt’s are the most perennially human; 
the noblest and the fullest in their humanity. 


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JOSEPH MALLORD WILLIAM TURNER 


135—-Landscape with Cows 


Water Color 


On the opposite bank of a narrow river rises the quadrangular block 
of a ruined monastery. A tree stands near the arched entrance, and 
farther back, on the left, appear other ruins. Beneath the bank two 
cows stand in the water, and on the nearer bank in the foreground are 
nine others; one standing on a small mound and others extended along 
a narrow spit of land that juts into the water. Under a small bushy 
tree on the right sits.the herd with his dog, and the view vanishes 
to a pale amber horizon, where in the vapor are the faint indications 


of a town. 


Signed at the right, and dated 1806. 
Height, 30 inches; length, 47 inches. 


While Turner’s water colors, the works for the most part of his 
early life, are without the vast imaginings of his later pictures, they 
make up for the lack by their extreme sincerity to nature. Moreover, 
they have not suffered in color by the effects of time. He had a perfect 
grasp of English scenery, rendering form and construction with marvel- 


lous accuracy, in colors of exquisite purity and with most delicate truth 


of atmosphere. 


2600 


PETER PAUL RUBENS 


136—Portrait of a Gentleman 


The figure stands against a dark olive background, seen as far as 
the knees, facing three-quarters to our right. Dark brown wavy hair 
grows short over the head; the dark eyes look to the left; the flesh 
tints are warm amber with ripe red cheeks; the small mustache is 
light brown and the beard of the same color is cut rather bushily to the 
shape of the chin. The gentleman carries his left hand on his hip and 
the other one hanging down, holding a pair of drab-colored gloves. 
He wears a ruff round his neck and russet-brown quilted sleeveless 
jacket and bloomers, and an under coat also quilted but black; a black 
silk mantle hanging in folds over the left arm. A black chain appears 
at his waist and a gold ring with blue stone on the little finger of 
the left hand. 

Height, 41 inches ; width, 28 inches. 


Collection of Colonel Hankey, Beaulieu. 


A superb master of form and color, with a brush unrivalled in its 
facility and assurance, Rubens imparts to his portraits the splendor 
of physical qualities: the sensuous charm of glowing flesh, the grandeur 
of the firm frame through which the warm blood courses, and above 


all the fine assertion of his own magisterial personality. 


FRANCESCO GUARDI 


137—View of the Square of St. Mark’s, Venice 


Large loose clouds roll in the deep blue sky, the cool light touching 
the domes of the cathedral and falling fitfully upon the upper part of 
the buildings on the left side of the square, and on the square itself. The 
latter is half in shade from the fagade of the Royal Palace, and is 
sprinkled with groups of gayly dressed figures in long cloaks and 
hooped dresses; a prominent one being a gentleman in the centre of the 
foreground wearing a crimson cloak. Opposite the left side of the 
cathedral stand several little tents, and beneath the Campanile the 
crowds stand round a covered platform on which are figures. 


Height, 445 inches; width, 313 inches. 


Guardi’s views of Venice are very spirited and lifelike, rendering 
with delightful freedom of execution the character of the architecture 
and the animation of the figures and groups. His colors are pure and 
enlivened with charming accents of brilliance. 


romemtangaihtit dest 


FRANCESCO GUARDI 


137—View of the Square of St. Mark’s, Venice 


Large loose clouds roll in the deep blue sky, the cool light touching 
the domes of the cathedral and falling fitfully upon the upper part of 
the buildings on the left side of the square, and on the square itself. The 
latter is half in shade from the facade of the Royal Palace, and is 
sprinkled with groups of gayly dressed figures in long cloaks and 
hooped dresses ; a prominent one being a gentleman in the centre of the 
foreground wearing a crimson cloak. Opposite the left side of the 
cathedral stand several little tents, and beneath the Campanile the 
crowds stand round a covered platform on which are figures. 


Height, 4454 inches ; width, 313¢ inches. 


Guardi’s views of Venice are very spirited and lifelike, rendering 
wT with delightful freedom of execution the character of the architecture 
and the animation of the figures and groups. His colors are pure and 
enlivened with charming accents of brilliance. 


Poa 

Pi 5366. 
75904, 
¢ 6065. 
¥ 6045, 
( 5942, 
v 5822. 


¥ 5733. 


SyeposS wefd. F, millet. 


y¥ 4035, 


NEP BF 
bod en ote 


7 2611. 


Y 2 or 


Mole oe, 


43087, 


2196. 


PAINTINGS SOLD F, 0, MATTHIESEN, 


‘ 
12/20/1826 
J.G,Meyer Von Bremen. "Field Flowers, " 
6/8/1888 
wie, Vibert, "Absent Linded," 
6/8/1888 
Ed Detaille, "Cavalry Advancing.” 
6/19/1888 
J. L. Gerome. "Turkish Lady at Window," 
8/24/1888 
Theo, Cederstrom. "Alterthumsfieund,” 
8/24/1888 
Eug. Verboeckhoven. Two goats, 
8/24/18 &8 
Gabriel lax. Ideal Head," 
11/15/1889 


Defoer Coli. 1886. L1f22/18e2 
Tamburini. "Monk Singing." 
11/16/187( 
Howard Helmuch. "Temptation. "/ 
/ (eaten 12/19/1879 
Chs Moreau,| Ae/ on rv/are/ "The ope Cai 
\ 1/31/1880 
Chlebowski. "La Marmite," 
1/3¥/1880 
E. Berne Bellecour. "French Soldier." 
12/21/1880 
A, Toulmonche, "The Love Token." 
1/14/1881 


A. Toulmonche, "The Medailion," 


"The Washerwoman, " 


$. 850.00 


2500.00 
2500:00 


2500 ,00 


200.00 
600.00 


1650.09 


500.00 
960.00 
$50.00 
850..00 


1700.00 


[Ayv0 


TITIAN 


138—Portrait of Antonio Grimani, Doge of Venice 


(See Frontispiece) 


Against a dark background, over which on the right side a wine- 
coiored curtain is draped, the figure stands before a table almost full 
face. The right hand, closed over a dainty white handkerchief, rests 
upon the crimson table cloth of Eastern fabric, on which also lies a large 
lemon with leaf attached. The costume consists of the doge’s cap of 
cloth of gold studded with jewels, and a white ermine cloak, falling 
below the waist and opening down the front, so as to show the edge 
of a rich golden-brown cloak, worn over a crimson suit embroidered 
with gold. The flesh of the face is bronzed and tough; the eyes, half 
closed and wrinkled, at the same time tired and penetrating; and the. 
lips are tight set and puckered with age. It is a face of indomitable, 


unscrupulous resolution, marked with suffering. 


Height, 37% inches ; length, 44% inches. 


Crowe and Cavalcaselle, in their ‘‘ Life and Times of Titian,” write 
of this picture as follows : 


« Antonio Grimani, elected doge at the age of eighty-seven, was the first prince 
of Venice whose likeness Titian, in his official capacity, was called upon to paint. 
There was never, perhaps, a sitter whose face bore a more distinct character, or more 
surely displayed the marks of a long and cunning fight with fortune. Before the age 
at which Venetian patricians claimed a seat in the senate, Grimani had visited every 
market in the Mediterranean and acquired enormous wealth. At Rome, in 1493, he 
gave his son Domenico 25,000 ducats to buy a cardinal’s hat. His own claim to office 
was recognized at Venice in 1494, when he was elected a ‘procurator’ and captain 
general of the fleet. In this capacity he served with distinction against the Turks. 
Though loath to accept a second command, he was again elected a captain general in 
1499, and reluctantly assumed the dangerous honor. In August, the Turkish and 


Venetian squadrons lay watching each other near the coast of Greece. The Turks, 
with two hundred and sixty ships, were covering the Sultan’s forces investing Lepanto ; 
the Venetians, with two hundred sails, waiting for an opening to attack the Turks. 
Unfortunately, jealousies divided Grimani from his subordinate, Andrea Loredano, 
who had left Corfu without orders, yet received an ovation on joining the fleet. 
According to some authorities, the captain general allowed Andrea to engage, and 
then withheld his support ; according to others, Grimani was paralyzed by the diso- 
bedience of his subordinates. The Venetians were beaten, Lepanto fell, and a 
Turkish squadron sailed victoriously into the Gulf of Patras. When the news of this 
defeat reached Venice, the people burst into a paroxysm of fury, and mobs paraded 
the streets cursing Grimani as the ‘ruin of Christianity.’ Marchio Trevisani was sol- 
emnly appointed to supersede him, and orders were despatched to send the luckless 
admiral in fetters home. In the meanwhile Grimani’s command had expired, and 
word came from Corfu that he was sailing for the Lido in the admiral’s ship. At 
Parenzo he was met by one of his sons, Vincenzo, who informed him that a decree had 
been issued by the senate, requiring him to surrender his galley and return home in a 
transport. Fearing lest neglect of this order—though unintentional—might cost 
Antonio his life, Vincenzo put his father into irons with his own hands, and took him 
in a pilot-boat to Venice, where he arrived at sunset on the 2d of November, escorted 
to the Riva by the captains of the port castles. Domenico, the cardinal, in his rochet, 
came out to meet the prisoner, but the mob which filled the quays threatened to stone 
the admiral; and the wretched occupant of the pilot-boat was only saved from death 
by hiding under the thwarts of its bow. At six o’clock Antonio Grimani, in a jacket 
and short red hose, bare-legged and fettered, was landed by torchlight in presence of 
the Avogadori and chiefs of the Ten and taken to jail, where Vincenzo and Domenico 
were allowed to watch him as he lay shivering with fever in a cell with a grated win- 
dow. For months Grimani endured confinement. He was tried in the summer, and 
despatched in autumn to an island prison near Cherson in the Black Sea. In 1502 he 
escaped to Rome, where he lived with his son the cardinal for several years. The 
part which he took in reconciling Venice with the Papal See after the League of 
Cambrai entitled him to a pardon, and on the 26th of July, 1509, he appeared publicly 
in the College of Pregadi. In 1510 he was reélected procurator of St. Mark, de supra ; 
and in 1521 he beat all his adversaries for the dogeship. . . . 

“This portrait of Antonio Grimani, of life size seen to the knees, was painted by 
Titian for the private collection of the Grimani family, and remained three hundred 
and fifty years as an heirloom in the Grimani Palace at Venice. 

‘“‘It was bought in 1871 by the Countess Mathilde Berchtold-Strahan and sold by 
her in 1873 to the Chevalier Friederich von Rosenberg, consul general for the Nether- 
lands at Vienna.” 


- 


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BARTOLOME ESTEBAN MURILLO 


139—Mary Magdalen at Prayer 


The Magdalen kneels facing to the right, her body turned three- 
quarters to the front, the head slightly raised and seen almost in profile. 
A plum-colored drapery hangs in folds from the waist, leaving the right 
foot exposed. Her hands are laid together in prayer with the fingers 
pointing upwards and leaving the right breast visible, round which 
falls a tress of the dark golden-brown hair, while another tress crosses 
her right arm. On the floor in front of her are a skull, a scourge, and 
a pyx of ointment. 

From the galleries of King Ferdinand VII. and of the Queens 
Christina and Isabella of Spain. 

Height, 65 inches ; width, 47 inches. 


Presented by Ferdinand VII. of Spain to the Dowager Queen 
Christina. 

Sold by order of H. M. the Queen Isabella to Mr. Brooks. After- 
wards in the Collection of Y. Osmaston, Esq., and Sir John Sinclair, 
Bart. © 

Exhibited at the Royal Academy, 1879. 

Exhibited at the Spanish Art Exhibition, London, 1894. 

Mentioned in Curtis’s Velasques and Murillo, p. 261, No. 373. 

Etched by Lurat. 


Murillo’s religious pictures are marked by extreme purity of draw- 
ing, by color not always of such chaste sobriety as in this picture, and 
by a gracious idealism that sometimes, no doubt, is tinged with senti- 
mentality. At his best, he rises to a tender elevation of spirit, and to 
a most sweetly serious gravity of expression. 


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A Re: CUYP! 


140—Landscape with Cows and Ruins 


The salient features of this striking composition are a background — 
of hill covered with ruins and two large cows lying in the centre of 
the foreground. The latter is of bold, irregular masses of turf and 
rock and vegetation, dark with shadow, in the centre of which a dun- 
colored cow forms an ample space of amber light, the glow being 
more subdued on the dull red coat of a second cow and catching 
points of color on some figures. On the extreme left of the fore- 
ground rise two tall tree stems with loose, brown foliage at the top. 
Below them stands a man holding on to a small bough, and by his side 
sits another in dull, rose-colored waistcoat with bright blue sleeves and 
a large buff hat, who bends over a fowling-piece. On the right of 
the foreground a boy is coming forward with a fishing-rod, while a 
woman with a pick stands behind a rough board fence. At the back 


of these latter figures is a waterfall, half-way up the steep ascent, which 
is covered with towers and other structures. The buildings are con- 
tinued down the slope of the hill towards the left, terminating at the 
extreme left in a group of towers that are seen across a pool of water. 
The latter is connected by a stream in the middle distance with the 
waterfall. The sky is of warm, creamy color, graying towards the 
zenith. 


Signed at the left, A: Cuyp. 
Height, 4214 inches ; length, 60 inches. 


In his compositions, Cuyp shows himself a master in the seizing of 
accidental combinations, so that his canvases are rarely without the 
i charm of surprise. In this remarkable picture, the surprise is less due 


to such subtleties as those of lighting than to the arresting features of 
the scene itself. He was a master also in the rendering of light and 


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ot eric Re of lambent warmth and pearly haze, with a fine 
nd of perspective both lineal and aerial. His use of cattle is 
ys significant. Being many-sided in his art, he introduces them, 


he does other subjects, for their value to the whole scheme. He 


me fem wath a sea ey with a large and HEENG knowledge 


obl biepacuea of colored light. His color is always refined and 
brilliant, while a LG and ample serenity characterizes the feel- 
7 is landscapes. 


PETER PAUL RUBENS 


141—The Holy Family 


The Virgin is seated with the Infant Christ standing upon her left. 
His left arm is around her neck, and the other extends down towards 
the infant St. John, who stands at the Virgin’s feet. Behind the Mother 
and Child stands St. Elizabeth, with her hand on the Infant’s arm, and 
in the shadow to the right is St. Joseph. On the left of the composi- 
tion, St. Francis d’Assisi bends forward, with his arms crossed over the 
bust of his brown habit, and his face fixed in rapt devotion on the 
Child. Beyond him appears a lamb, and still farther back a landscape 
and buildings under a gray sky, streaked with crimson on the horizon. 
Behind the main group is a ruined building, with a tree at the side. 


Height, 813 inches ; width, 6814 inches. 


Exhibited at Burlington House, 1870. 

Collection of Sir Cecil Miles, Bart., Leigh Court 

Described by Dr. Waagen in “ Art Treasaree Be Boat Britain,” 
vol. iii., page 182. 

Rubens was a master-genius only to be compared with Titian, Rem- 
brandt, and Velasquez. Out of the simplicity, purity, and religious 
pathos of the Flemish school of the Van Dycks, he arose as a splendid 
prodigy of material and sensuous power. In the plenitude of his amaz- 
ing strength as draughtsman and colorist; in the versatility of his 
genius and the fecundity of his imagination, he stands alone—a painter 
unapproached and unapproachable. His great altar-pieces may lack 
spirituality of conception—indeed, this Holy Family has but the holi- 
ness of a family wholesomely and happily united—and yet, through the 
grand humbleness of the rich and intellectual figure of St. Francis, still 
more through the stately composition of color and form, the dignity 
as well as the sweetness of the Holy Story is expressed. 


Bristol, 1899. § Jat 


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t. Thomas 


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er The Saviour, with head inclined, has drawn back the robe from His 
a chest to disclose the spear wound, into which the doubting Thomas is 


inserting his finger as he leans forward with a gaze of eager scrutiny. 


slat a EL a: oe ee 


Behind him another disciple peers over his shoulder, while a third head, 
“bald, and gray-bearded and looking down, appears above the head of 


Height, 41 inches ; length, 56 inches. 


4 
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143—-Eight Cartoons in one Frame 


CESARE MARIANI 


Made to be executed in fresco in the cupola of the Cathedral at 
Ascoli Piceno, representing several episodes in the life of Sant’ Emidio, 
Bishop and martyr. 


A. Emidio’s conversion to the Christian religion. 

B. Earthquake produced in answer to Emidio’s prayer, when the 
pagans tried to draw him by force into their temple. 

C. Emidio and his Christian followers met by the magistrates of Piti- 
num in the Abruzzi. 

D. Recovery of a paralytic, worked by Emidio. 
E. Conversion to the Christian religion of Polisia, daughter of the Pre- 
fect of Ascoli, by Emidio, to whom she was betrothed. 

F, Baptism in the waters of the Tronto of citizens, including Polisia. 
G. Miracle, happening on Emidio’s beheading, when he rose and 

walked towards the tomb. 
H. The funeral of Emidio in Ascoli Piceno, provided by Bishop 


Claudius. 
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CESARE MACCARI 


144—A Set of Cartoons 


Being the original cartoons for the mural paintings, executed be- 
tween 1881 and 1888, in the state reception room of the Palazzo dei 
Senato at Rome. 


A. The Departure of Regulus, who, being a prisoner in the hands of 
the Carthaginians, had been sent by them to obtain peace from 
Rome, but, having himself advised war, was returning, ac- 
cording to his promise, to Carthage with the certainty of death 
awaiting him. 

B. The Entry of Appius Claudius Caecus into the Senate. He had 
caused himself to be brought into the Chamber that he might 
oppose the arguments of the Greek orator Cinneas, sent by 
Pyrrhus, then invading Italy, to propose peace. “I am blind, 
and would I were deaf, that I might not have heard of Roman 
Senators discussing peace with an enemy, as long as he remains 
on Italian soil.” 


(Among the bystanders in the background, near the pilaster on 
the right, Maccari has introduced a portrait of his master, Mussini, in 
the old man with the beard, and in the figure next to him his own 
portrait.) 


C. The Denunciation of Catiline by Cicero in the Roman Senate. 


(Many of the faces are portraits of contemporary Italians of note, 
some being members of the Senate.) 


ain PREY C0? np me 


D. Two long panels, with children’s figures arranged decoratively 
against an architectural background, representing “ Literature 
and Art” and “ Agriculture and Trade.” 

E. Two panels, representing “ Science” and “ The Army.” 

F. A small, upright panel, representing the Entrance of the Gauls 
under Brennus into Rome, when the Senators sat motionless, 
like gods, and Papirius was insulted by a Gaul. 

G. A small panel, representing Dentatus refusing the allurements oi 
riches in favor of a frugal life. 


In his “ History of Modern Italian Art,” page 438, A. R. Willard 
thus refers to these cartoons: 


“‘ The cartoons were very fine examples of drawing, and Morelli urged their pur- 
chase by the Italian government; but before the proper officials had reached the 
point of making an offer to the artist, they had already been sold to an American pur- 
chaser. Photographs of these cartoons, giving some idea of the great merit of the 
originals and of the amount of labor which the artist must have expended upon them, 
may be seen in Maccari’s studio at Rome.” 


illumined with pale light. 


Signed at a right, G. Ruger Donoho, Paris. 
; Height, 51 inches; length, 77 inches. 


> 


AMERICAN ART ASSOCIATION, 


ie, MANAGERS 
Tuomas E. Kirsy, 


Auctioneer 


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¥ 


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THEIR WORKS 


CATALOGUE 


BJE 
opuEet NUMBER 


76 


A Mountain Pass 


Italian Village 


maNide Girl 


3 saa 2 oe laa 
ae mee The Engadine 


Zan Norwegian Lake 


Drawing Water 


Marmiton avec Son Chien 


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. Marauders in the Thirty Years’ War 79 


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BEARD, W. H. 7 eee aS 
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BENLLIURE, J. "3 sf aie : ; 
A Cardinal _ 
BERNE-BELLECOUR, E. P. oo 
| Sentinels | | 
The Trooper's Story | 3 cee a4 rc 
BESNARD (After) . 
Nude 


BONHEUR, ROSA a 
Don Quixote Escorted Home 
A Normandy Horse 


Ram’s Head 


BONNAT, LEON 
Italian Girl 


BOUGUEREAU, W. A. | 
Asleep 


BRADFORD, W. 
A Polar Expedition 


Waiting 


¥ 


* 
‘ 


CATALOGUE 


Tieton sa NUMBER 


Harvesting the Poppies 122 


Study of Female Figure 


aK Sporting Monk 


. 


as 


Pe An Uncanonical Courtship 
‘DERSTROM, BARON T. VON 
| | Examining the Treasures : 


‘ 
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‘CHLEBOWSKI, ST. 


La Marmite: Zebeks & Andrinople 


COLEMAN, C. C. 
a Landscape 


The Sheep Fold 


The Proposal 
“Do Tell Me!” 


CATALOGUE 
NUMBER © 


& COROE RE AC: eS: ee 
Castle and Forest, Lombardy = , 


ARTIST = SUBJECT 


2 | 


Avenue of Trees 


CORRODI, H. 
New Bridge in Constantinople 


* 


View on the Nile 


Evening on the Lagoons 


CORRODI, S. 
_ Avenue in Tivoli 


avon : 17 
Bay of Naples AOR : ei E 


Landscape with Cows and Ruins rete 


DAUBIGNYC.-i ~ 
Summer | 104 


DAVIS, J. P. 
Portrait of Lafayette 7O 


DECAMPS, A. 
A Mountain Gorge =0 


DEFREGGER, F. 


A Tyrolese Wooing 25 


CATALOGUE 


SV MERE, 

| Sunset on the Coast 55 
_ DETAILLE, £. 

eae ee eee Officer Ordering an Advance | 34 

The Awakening of Love | 64 

Fontainebleau Forest _ 106 

a Lucrezia Borgia 128 

a 
DONOHO,G.R. 
or : On the Coast of Egypt _ ee 61 
a 2 , _ La Marcellerie 145 
ae : 

ss DOU, GERARD 

‘ ool Old Woman Chopping Onions by Candlelight 130 
‘DUPRE JULES 

; Sunset 57 

; Village near the Sea 112 


DUPRE, VICTOR 
Landscape and Cottages 18 


ARTIST . 
DYE, CLARKSON ae 
Street Scene: Winter — 
EHRENTRAUT, J. : 
A Halberdier Saluting 


ETIOLLES, HELEN LE ROY D’ 


Head of an Old Man 


FAVRETTO, G. 
Trimming the Vines | 


GEROME, J. L. E. 
A Morocco Beauty 


GUARDI, F. 


View of the Square of St. Mark’s, Venice 


HAAS, JH LeeDeE 
= Cows and Landscape 


HENNER, J. J. 
Head of a Girl 


JACQUE, CHARLES 


era rns 


subject 
Dutch Gentleman _ 
A Meeting on the Tivoli Road 


, HUGO 
what Village Auction 


“4 _ 


ie 


A Gypsy Mother 


‘ 


a 


KNIGHT, D. ey : 


Washerwomen at Poissy 


_ KNOLL, w. 


River and Mountains 


KNUPFER, B. 
A Sea Nymph 


KOEKKOEK, J. H. B. 


Coast and Marine 


CATALOGUE 


NUMBER 


129 


Tok 


7 ARTIST . since poe Oe : ve bitse CoE 
ey KRONBERGER, C. ake Srerate: 4 
‘ Head of an Old Woman : 


LAUPHEIMER, I. | - 
A Flirtation 


LAWRENCE, SIR T. ; 


Portrait of the Rev. Burroughs Thomas Norgate, M.A., 
at the age of twenty-three 


LAZERGES, PAUL 


The Gleaners 2 45 


LENBACH, F. . * en 
Pope Leo XIII. ee 


LEPINE, S. pare ed 
L’ Estacada OS ae 


PES hE eA. 


Returning Huntsman aS 


The Halberdier 103 | 


PESSISaLO 


Interior of a Public Library at Florence 62 


LOWITH, W. 
The Connoisseurs 96 


CATALOGUE 


oe NUMBER 


A Set of Cartoons 144 


A Love Song 


An Italian Peasant Girl 


Italian Shepherd Boy 


A Series of Cartoons 


A Holland Landscape 


A Fair Maiden 
A Girl’s Head 


MEISSONIER, J. L. E. 


Papa Pierre 


The Philosopher 


ARTIST _ SUBJECT 


oe MEYER VON BREMEN , ies yu 
Field Flowers ~ 


MILLET Slot 5 Fae at 
The ‘Washerwoman 


MULLER, C. L. Se 


Scene at the Conciergerie Prison during the Roll-call of the Last 5 | 
Victims of the Reign of Terror, 9th Thermidor, 1793 78 


MUNGER, G. | | 
Landscape : Near Franchard 


WORE UO oD os 
Mary Magdalen at Prayer 


NEUVILLE, A. DE 
The Halt | WeSC 


, PETTENKOFEN, A. VON 
A Market in Hungary BF 


Les Amoureux S35 


RAMSAY-LAMONT, L. ; 
Woman Harvesting eat hg 39 


SrEiRes ; CATALOGUE 
cei _ NUMBER 


Dm 


‘The tees Writer 


ws SEAF 
re Aes 


Venice 


A Good Story 


Grandmother’s Darling 


Sunset after Rain 


Le Puy 


Portrait of a Gentleman 


The Holy Family 


-SCHLESINGER, 
The New Scholar — 


a ee  _—=—yoer.” oer: 


cma Lome ee es us - hi 
SUBECT. 1) = 


ARTIST 


SCHODL, M. 


Still Life 


SCHREVER. A: Bee 
Arabs Crossing a Stream — AeA og te 
SIEMIRADZKI, H. ee -: 
The Sword Dance 


SIGNORINI, G. 
The Convivial Cardinals 


SIGRISTEGieG: 


Napoleon and his Generals Consulting 


SPERLE, A: 
The New Suit 


S LOGS il; _ Se 
Kittens and Pug Gere 


TAMBURINI, C. 
| Monk Chanting 23a 


TIRATELCULSA: 
t Washerwomen : Rome 


Fighting Bulls . oe evi 


apart — 


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i nell Hert oe en ee 

la YT, 7 ar 

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me 


Portrait of Antonio Grimani, Doge of Venice 


a 


+ 
! 


MOUCHE, A. 


ee St 
ou L ‘ 
aac” in 

a > The Miniature 
a My. zp te 


“TROYON, ¢ 


o> e:| Cow and Dog 


‘Landscape and Cattle 


Port of Ravenna 


Landscape with Cows 


ae 3 
___-VERBOECKHOVEN, E. J. 


aie 
At ee Paes 
% ed a 


Goat and Calf 


_ VIBERT, J. G 


Absent Minded 


After the Masquerade 


VOLK, DOUGLAS 
The Model 


WEX, WILL 
Sunset 


CATALOGUE 
NUMBER 


138 


noes 


. rite ae 7 5 ayer a < 
; WOODWARD, L. | . : 


Arch Creek, Florida 
Ocklawaha Landing, Florida = = 


WORMS, JULES Penh 
A Stolen Kiss 


5 


ZIMMERMANN, E. 
~The Alchemist 


UNKNOWN 
Marine 


A Copy after Fra Angelico 
A Copy after Fra Angelico 


Copy after Turner’s ‘‘ Childe Harold’s Pilgrimage’ 


The Church Beggar . 


Christ and St. Thomas 


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